1. Orchestral Suite (overture, arioso, gavotte, trio, bourrée, and gigue). 2. Motet for double chorus _a cappella_. 3. Concerto for harpsichord (the solo part of which Mendelssohn himself played). 4. Aria from the St. Matthew Passion (_Ich will bei meinem Jesu wachen_). 5. Fantasia upon a theme by Bach (performed by Mendelssohn). 6. Cantata (for the election of the _Stadtrath_ [council] of the city of Leipzig). 7. Prelude for violin (played by Ferdinand David). 8. Sanctus (from the Mass in B minor). The subscription had resulted successfully, and the monument had been erected. Following the concert, the draperies were withdrawn which concealed the bust of the master of masters. CH.-M. WIDOR. Introduction The author of this study does not assume to have discovered Bach, of whom the world has already heard; but of such men there is always something to be learned; many new facts of interest concerning the great Cantor of Leipzig will be brought out by others after us. What we here wish to consider is the compositions of Bach for the organ. If, perhaps, we have confined ourselves to æsthetic considerations of a nature which may appear general, we trust that we may be pardoned; a perusal of this little book will demonstrate that it is not the fault of the man who suddenly surpassed all that had been done before him, while at the same time anticipating all that was to be written in the future. Bach was not without predecessors; we may not ascribe to him the honor of having invented an alphabet, but it must be recognized that he was the author of a grammar. This conclusion is apparent upon a study of "Johann Sebastian Bach, the Organist"; it would undoubtedly be no less convincing upon the consideration of all his works as a whole. Since we must confine ourselves to observation from a particular point of view, we shall indeed be happy if our labor, based entirely upon recognized authorities, shall make easier to the student the task of playing Bach "in the Bach spirit." A. PIRRO. WÜSTWEILER, September 27, 1894. ERRATA IN MUSICAL EXAMPLES. Page 6, second brace, meas. 2, upper part: First half-note _d''_ should be _c''_. Page 8, meas. 3, upper part: Add tie between third and fourth notes from end. Page 16, second brace, meas. 2, upper part: Third 16th-note _a'_ should be _c''_[sharp]. Page 18, second brace, meas. 1: Add tie between last note (_f_) in third part and the following note. Page 32, Example 2, last meas. _et seq._ should read thus: [Music] Page 43, Example 2, meas. 2, upper part: The sixth note (_g'_[sharp]) should be an _eighth_-note. Page 44, Example 1, meas. 2, second part: Last note should be _g_[natural]. Page 47, Example 1, meas. 2, upper part: First note, _e''_, should be _f''_. Page 47, Example 1, meas. 2: Add tie between last note in third part and the following note. Page 91, Example 2, second part: Third note from end should be _f'_[sharp].