Among the suites which do not belong to these collections, we recollect with great pleasure the dainty dances and intermezzi--for example in the E flat major suite, and especially that in B minor with overture in French style (Largo--Fuga--Largo) which appeared in the second part of the Klavierübung as a piece for two manuals. It presents, among the many intermezzi, a gavotte in the style of the orchestral Partiten, which links itself with the choicest dances, in graceful style, of the preceding century. From the clavier-suites we pass to the clavier-sonatas, which, still in the style of Italian art, mingled with dances, offer free combinations of different movements. The melodious andante of the D minor sonata, and its final allegro-movement rattling off almost in one part, are perfect pearls. A step further we reach the fantasias with fugues; especially the polyphonic one in A minor, the recitatival “Chromatische” and the concerto-like C minor, fugally treated, but still not a fugue. These three fantasia-pieces were Bach’s direct bequests to the future. In the polyphony of the brilliantly rushing fantasia in A minor, rising with endlessly delicate melody, we are reminded of the “Meistersinger”; in the chromatic fantasia, with its broad narration and grandiose concluding pedal point, the clavier seems to us to speak with the freedom of a drama; in the significantly constructed C minor fantasia rests the whole formal talent of the instrumental composers of the expiring eighteenth century.