9 Though Bach never ventured upon such tours as Mozart or Berlioz, for instance, undertook, he loved travelling, and his artistic journeys made him famous throughout Germany, at least as an organist. Forkel himself describes (infra, pp. 19, 23) his notable visits to the Courts of Berlin and Dresden. 10 In 1802, it must be remembered, not a note of Bach’s concerted Church music was in print except the tunes he wrote for Schemelli’s Hymn-book (1736) and the vocal parts of an early Cantata (No. 71). Of his instrumental works engraved by 1802 Forkel gives a list infra, p. 137. It was hardly until the foundation of the Bachgesellschaft in 1850, to celebrate the centenary of Bach’s death, that the systematic publication of his concerted Church music began. Before that date, however, Peters of Leipzig had taken in hand the abandoned scheme of Hoffmeister and Kühnel, to which Forkel alludes, and in which he participated. 11 It is notable that Forkel makes no mention of Haydn, Mozart, or Handel, whose English domicile had divorced him from Germany’s service. Forkel’s pessimism is the more curious, seeing that Beethoven was already thirty years old, and that Mozart in 1786, after giving him a subject to extemporise upon, had remarked, “Listen to that young man; he will some day make a noise in the world” (Holmes, _Life of Mozart,_ Dent’s ed., p. 223). Forkel, in fact, appreciated neither Mozart nor Beethoven and thoroughly detested Gluck. 12 As has been pointed out in the Introduction, Forkel stood almost alone in 1802 in his opinion of Bach’s pre-eminence. Even Beethoven placed Bach after Handel and Mozart, but knew little of his music on which to found a decision. 13 The anonymous article in the _Allgemeine deutsche Bibliothek,_ to which Forkel alludes, deals with Bach’s Clavier and Organ works and upon them asserts Bach’s superiority over Handel. The judgment was unusual. Bach’s fame was gravely prejudiced by German Handel-worship, which the first performance of the _Messiah_ at Leipzig in 1786 stimulated. Johann Adam Hiller, Bach’s third successor in the Cantorate of St. Thomas’, was largely responsible. He neglected, and even belittled, the treasures of Bach’s art which the library of St. Thomas’ contained. See Schweitzer, i. 231. 14 The _Nekrolog._ See supra, p. xxiv.