[Footnote 81: This work, perhaps, dates from the journey which Bach made to Cassel in 1714 to examine a recently restored organ. At least the pedal passage in the prelude reminds us of that pedal solo executed during this tour before the Hereditary Prince of Hesse with such virtuosity that the latter drew from his finger a valuable ring and presented it to Bach. "One might have believed," says Adlung (_Anleitung an der Musikgelahrtheit_), "that his feet were winged, with such agility did they move over the keys which caused the powerful basses to resound. If the dexterity of his feet drew from the Prince so rich a present, what should he have given him in recognition of the genius of his hands?"] [Footnote 82: It will be interesting to compare one of these themes with the following from the counterpoint of a fugue in A major by Albinoni: [Music] especially if we remember this first transformation which it underwent at the hands of Bach in a fugue for harpsichord: [Music]] An Adagio follows; a sort of instrumental solo sustained by a homophonic accompaniment, examples of which are comparatively rare in Bach; and accentuated by a _continuo_, like the _pizzicato_ of the orchestra. A short succession of chords _à la_ Buxtehude and _quasi-recitativo_[83] separates this Adagio from the fugue; the rapid tempo of this latter is still of the earlier period, and recalls, in its progressions in thirds, various subjects of Buxtehude. [Footnote 83: Here are noticeable the pauses Bach contrives to introduce for one of the hands, that it might effect the changes in registration necessary to play the fugue _coll'organo pleno_.] Bach was not content with writing in the Italian forms. In the fugue in _B_ minor[84] he borrowed themes from the Corelli[85] sonatas, and in the one in _C_ minor[86] he levied tribute upon works of Legrenzi; upon which one of the latter is not definitely known. [Footnote 84: P. iv, 8.] [Footnote 85: Corelli was born in 1653, and died in 1713. The theme mentioned is found in Joachim's edition of Corelli's works (_Denkmäler der Tonkunst_, vol. iii. Bergedorf, near Hamburg, 1871). It is the theme of a fugue, the second part of a "church sonata," opus 3; the fugue is marked _vivace_, and is but thirty-nine measures in length.] [Footnote 86: The manuscript of this fugue, coming down from Andreas Bach, bears the following qualification: "_Thema Legrenzianum elaboratum cum subjecto pedaliter_."] In this connection we see what further profit Bach derived from his study of Italian chamber music, not only in the _logic_ of composition in general, but in certain species of writing, particularly in that in three parts. But all this did not satisfy him; he wished to know the organ works of Italian composers. We have seen that he copied with his own hand the _Fiori musicali_ of Frescobaldi.