Who was this Bach, and what was this sudden development of German music? Hitherto not much had been heard of it in foreign countries, and on looking at the German tablatures[73] of the older time one could only recognise an honourable but somewhat clumsy struggle. In the sixteenth century, perhaps when, in wider circles, some mention was made of the great vocal compositions of Isaac and Senfl, a certain Nürnberger, Hasler by name, proposed himself to Gabrieli in Venice as a pupil, and later his renown was heard at the courts of Vienna and Dresden. In the next century another German, Johann Jakob Froberger, was associated with Frescobaldi in Rome, and his fame also was afterwards heard at the Viennese court. He cannot have been unpopular, for a number of anecdotes clustered round his name. Froberger, and with him Pachelbel of Nürnberg, began the emancipation of the clavier in Germany. In the Hanse Towns of the north were good organists, such as Buxtehude in Lübeck and Reincke in Hamburg; but no one in Italy or France troubled himself with them. The fame of Italian sonatas and French suites was such a matter of course, that the Leipzig organist, Kuhnau, when he in 1700 published his collections of genuinely German clavier-pieces, plumed himself mightily, in his chatty prefaces, on the fact that now at last, even in Germany, good music was to be had, which could take its place by the side of the foreign. “Even in Germany,” he exclaimed, “oranges and citrons at last bloom!” The excellent Kuhnau ventured to give the title of sonata to a piece on the model of the Italian sonata da camera, although it was written not for violin but for clavier. Hence it is often said that he was the creator of the clavier-sonata. But this piece has nothing in common with the later popular composition of that name; it was a cento of several movements in various tempi, as the suite was a cento of several dances. Nay, the Cyclopes of Rameau stands nearer to the later type than this. The suites and sonatas of Kuhnau are pure clavier-pieces, somewhat marred by the usual failings of youth, and running every theme to death, but clear, vigorous, and adapted to the fingers, smooth in feeling and modern in technique. But the most curious work of Kuhnau is his “Biblical Histories.” Here he illustrates on the clavier all kinds of Scriptural stories, like the death of Goliath, the cure of Saul, the marriage of Jacob, Hezekiah’s recovery, the life of Gideon, and Jacob’s death, in sonata-form, on the model of the programme-music[74] of the time, and with the assistance of verbal elucidations. Yet Kuhnau is as little as Froberger or anyone else a forerunner of Bach, who so overshadows the work of his predecessors that one may almost say he is independent of them.