They are true and actual prototypes of the divinely ordered processes of nature, and in listening to them one calls to mind the profound saying of Goethe: "Bach's music produces in me the feeling that the eternal harmonies are holding converse together as they may have done in the bosom of God before the creation." The term chamber music was borrowed by the Germans from the Italians, with whom "_musica da camera_" was directly opposed to "_musica da chiesa_." In German it might be more appropriate to say "society music." We are accustomed in our day to think only of instrumental music in this connection, but it was the original intention to include vocal compositions as well. Works of both kinds were produced by Bach, but however interesting his vocal chamber music may be, it is of only secondary importance, relatively speaking. He must himself have been of this opinion, for he frequently made re-arrangements of these compositions (which were mostly written for particular occasions), and thus converted them into church music. His instrumental works, on the other hand, are of the highest importance, not only for their intrinsic merit, but as a means of determining the permanent artistic standing of the composer. In considering them, it is necessary to distinguish between such as are especially derived from organ music, those which grew out of Italian violin music, and the remaining portion, which found their origin in the exclusive domain of the clavier. In a general way at least, the style of organ music exercised great influence upon all three of the varieties mentioned; Bach made it his point of departure and it formed through his whole life the basis of his work.