This prelude is already of much importance from an artistic standpoint; but we cannot say as much of the prelude and fugue in A minor which we mentioned at the same time. There is no doubt that it also dates back further than the journey in 1705; Bach must have sadly misconstrued the true significance of Buxtehude's works to have indulged in plagiarism so unskilfully. He reproduced only the faults of his model; he followed him only into the by-ways, augmenting his mistakes by the awkwardness with which he set about his task. In fact, the work is little more than an _omnium-gatherum_ of ideas picked up at random and strung together upon the mere excuse of a tonality. After a short prelude devoid of interest, we find the theme of the fugue to be of peculiar dryness, supported by equally barren counterpoint. The interlude which follows is a succession of incorrect harmonic progressions, peculiarly disagreeable in effect;--even as he thought to imitate Buxtehude's freedom of movement[60] in the restlessness of the prelude and fugue, so Bach hoped to acquire the expressiveness of his harmonic progressions, so audacious for their time[61]--and introduces a new treatment of the fugue, monotonous, but finally coming to a close in a more interesting fashion. [Footnote 60: It will be interesting to compare this piece with the prelude in F sharp minor by Buxtehude, particularly with this excerpt from it (ed. Spitta, xii, p. 68): [Music]] [Footnote 61: For instance, in the Chaconne (iii, p. 15, from the 8th measure), which we have already analyzed: [Music]] More happily inspired in his emulations, or better served by his talents, we behold Bach in a composition in three movements, little known up to this time: a "Fantasie" in G major.[62] [Footnote 62: P. ix, 6. In this edition, this work bears the title of _concerto_, undoubtedly because of its form in several movements; at least, it was so designated in Griepenkerl's collection. A manuscript which has come down from the organist Westphal, in Hamburg, gives it this title: "_Fantasia, clamat in G[natural], di J.S. Bach_."] The first two movements are still rather weak, perhaps influenced by the Italian music heard and played during the few months preceding, when Bach was a violinist in the orchestra of Prince Ernest of Weimar. The third movement is remarkable, at least with regard to its depth of thought, and to its adoption of all that was most to be desired in Buxtehude's style. The upper parts cross each other upon the scale given out by the bass, as in a Chaconne; it is the resistance of surging waves to the slow rising of the stream, expressed by the implacable repose of the fundamental theme, whose intensity, with its own imperturbable repetitions, overcomes all resistance.