[96] Both these adjectives apply to decorative ornament. The general idea of “baroque” is “odd” or “outrageous.” “Rococo” implies an elaborate want of good taste. [97] “Dux,” the _leader_, _i.e._ the “subject” of the fugue; “Comes,” the _attendant_, _i.e._ the “answer.” So called because the one follows the other as a matter of course, like master and servant. [98] Meaning “The Philosophy of Spinoza,” _i.e._ an illustration of Spinoza’s method, given in musical notes. [99] It is impossible to describe this action in words. See the diagrams in Grove’s “Dictionary of Music,” vol. ii. pp. 716 and 718. [100] I possess a Zumpe pianoforte, date 1766, which is apparently the earliest surviving made by him in England. E. W. N. [101] Such a judgment of Handel, which would be ungracious in the mouth of an Englishman, is not unfitting in a German. England alone, apparently, knows and cares about Handel, the athlete in _choral_ music. [102] _i.e._ the ornamentations, turns, appoggiaturas, etc. [103] The doppelschlag was the “turn,” beginning with the _note above_. [104] “For professors and amateurs.” [105] Various names have been used for this “middle section” of the “sonata form,” _e.g._--“Development,” “Fantasia,” “Free part,” “_Durchführung_, carrying through,” “Working-out.” [106] The word “couplet” is here used as in Couperin, and other old French composers. It means the subsidiary themes or sections which alternate with the main subject in these ancient rondos. Call the main theme A, the subsidiary ones B, C, D, etc. Then the course of the movement is--A, B, A, C, A, D, A, etc., and B, C, D, etc., are called “couplets.” [107] See, for instance, Haydn’s earliest string quartets, where he commonly has _two_ minuets, one on each side of the “slow” movement. [108] Does not “allemande” here simply mean “German” waltz? [109] It is a great pity, and a great loss in every way, that the careful _artistic_ playing of duets on one pianoforte has largely ceased. What Moscheles and Mendelssohn were not ashamed to do in public, surely is not an unworthy employment. It should be revived, if only to popularise Schubert’s beautiful works for four hands, the widespread ignorance of which is a simple disgrace to us all. [Illustration: Beethoven at age of 31.] Beethoven