It was, in fact, the artist temperament that led Bach to make the great and sublime his goal. For that reason his music is not merely agreeable, like other composers’, but transports us to the regions of the ideal. It does not arrest our attention momentarily but grips us the stronger the oftener we listen to it, so that after a thousand hearings its treasures are still unexhausted and yield fresh beauties to excite our wonder. Even the beginner who knows but the A B C of his art warms with pleasure when he hears Bach’s music and can open his ear and heart to it. It was the true artist spirit, too, that guided Bach to unite majesty and grandeur of design with meticulous care for detail and the most refined elegance, characteristics which we rather seek, perhaps, in works whose object is merely to give pleasure. Bach held strongly that if the strands are imperfect, the whole design is faulty. His genius is sublime and impressive, and he never condescends to be frivolous even when he touches the lighter forms of art. To conclude: it was the union of astounding genius and indefatigable application that enabled Bach to widen at every point the domain of musical expression. His successors have failed to maintain the art at the level to which he raised it. If Bach was more successful, if he was able to produce great work of convincing beauty and imperishable as a model for those who came after him, we owe it as much to his application as to his genius. This man, the greatest orator-poet that ever addressed the world in the language of music, was a German! Let Germany be proud of him! Yes, proud of him, but worthy of him too! [The Bach Statue at Leipzig] The Bach Statue at Leipzig APPENDIX I. CHRONOLOGICAL CATALOGUE OF BACH’S COMPOSITIONS I. CATALOGUE OF BACH’S COMPOSITIONS PRIOR TO HIS APPOINTMENT TO WEIMAR IN JUNE 1708, in his twenty-fourth year.(327) VOCAL:— Motet: Lobet den Herrn, alle Heiden. CLAVIER(328):— Capriccio sopra la lontananza del suo fratello dilettissimo (bk. 208 p. 62) (1704). Capriccio in honorem Joh. Christoph Bachii, Ohrdruf (bk. 216 p. 34) (c. 1704). Sonata in D major (bk. 215 p. 44) (c. 1704).(329) B.G. XXXVI. prints a number of pieces which, in general, may be assigned to Bach’s immature years. They are reproduced in Peters’ edition: Book 200: Fughetta in C minor (p. 10). Prelude and Fughetta in D minor (p. 40). Prelude and Fughetta in E minor (p. 42). Prelude and Fughetta in A minor (p. 47). Fugue in C major (p. 54). Fugue in C major (p. 56). Book 207: Fantasia in C minor (p. 50). Book 212: Fantasia in C minor (p. 58). Fugue in D minor (p. 59). Fugue in D minor (p. 61). Fugue in E minor (p. 68). Book 214: