It is a farther distinction of Forkel’s monograph that it made converts. With its publication the clouds of neglect that too long had obscured Bach’s grandeur began to melt away, until the dizzy altitude of his genius stood revealed. The publication of the five Motets (1803) was followed by that of the Magnificat in 1811, and of the Mass in A in 1818. A beginning was made with the Cantatas in 1821, when Breitkopf and Haertel published “Ein’ feste Burg” (No. 80), commended in an article written (1822) by Johann Friedrich Rochlitz (1769-1842), the champion of Beethoven, as now of Bach. Another enthusiastic pioneer was Carl Friedrich Zelter (1758-1832), conductor of the Berlin Sing-Akademie, who called Bach “a sign of God, clear, yet inexplicable.” To him in large measure was due the memorable revival of the _St. Matthew Passion_ at Berlin, which the youthful Mendelssohn, Zelter’s pupil, conducted in March 1829, exactly one hundred years after the first production of the mighty work at Leipzig. In the following years it was given at Dresden and many other German towns. Leipzig heard it again after a barren interval in 1841, and did tardy homage to its incomparable composer by erecting (1843) the statue that stands in the shadow of St. Thomas’s Church, hard by the Cantor’s home for a quarter of a century. Meanwhile, in 1830 and 1831 the _St. Matthew Passion_ and _St. John Passion_ had been engraved, and by 1845 the B minor Mass was in print. The credit of having revived it belongs to Johann Nepomuk Schelble (1789-1837), conductor of the Frankfort Caecilienverein, though the Berlin Sing-Akademie was the first to give a performance, considerably curtailed, of the whole work in 1835. A little later, in the middle of the forties, Peters began to issue his “kritisch-korrecte” edition of the Organ works, which at length made Bach widely known among organists. But the publication of the Cantatas proceeded slowly. Only fourteen of them were in print in 1850, when the foundation of the Bachgesellschaft, on the centenary of Bach’s death, focused a world-wide homage. When it dissolved in 1900 its mission was accomplished, the entire works(2) of Bach were published, and the vast range of his genius was patent to the world. It remains to discuss the first English version of Forkel’s monograph, published in 1820, with the following title-page: LIFE OF JOHN SEBASTIAN BACH; with a Critical View of his Compositions. By J. N. Forkel, Author of The Complete History of Music, etc., etc. Translated from the German. London: Printed for T. Boosey and Co., Holles-Street, Cavendish-Square. 1820.