Quite other is the impression produced by the “galant” music of Philip Emanuel Bach. While his elder brother Friedemann stands somewhat nearer to Sebastian in kind, and actually wrote pieces, like the C minor fugue, of which the old man need not have been ashamed, Philip Emanuel, with greater decision and also with greater significance, pursued a different path. It is as if fate had marked out this difference. Sebastian Bach held Friedemann as the cleverer musician; but he frittered his life away. Philip was first set to study jurisprudence, and out of the painstaking lawyer grew the sober and energetic composer. The life of Philip was as simple as his father’s. In 1740, at the age of twenty-six, he went to the court of Frederick the Great, where he worked as royal cembalist and accompanist. In 1767 he went to Hamburg, and died there in 1788. He does not seem to have been able to agree with the King; and it is likely enough that he felt and worked more freely in Hamburg. Berlin was always having trouble with its people. Had Philip Emanuel stayed there, Berlin would have been the greatest centre of piano-playing in Germany, and its walls would have been associated with lasting memories of the ancestors of modern musical forms. Had Mozart, in later years, accepted the offer of Frederick William II. of a position as chief Kapellmeister with the extraordinary salary of three thousand thalers, Berlin would have been enabled to absorb a little of the musical life of Vienna. Or, later still, if the Academy of Singing had been given to Mendelssohn (who was a candidate), rather than to Rungenhagen, the intoxicating glory of Leipzig, which lasted for a time, would have been transferred to the banks of the Spree. But the spirit of Zelter remained over Berlin.