But a new sphere of action here again opens to Bach. His master and friend, the Prince of Koethen, was distracted from the pursuit of music by his wife's want of interest therein, and so Bach sorrowfully looks around him for a more congenial appointment. This he found at Leipsic, in 1723, as cantor to the school of St. Thomas. Leipsic, like Weimar, was celebrated for its intellectual life; but the various vexations which the great musician encountered from the action of the authorities reflects but little credit upon them. Bach's labors here were simply Titanic. There were four churches at Leipsic, the principal being St. Nicholas and St. Thomas. Bach seems to have been responsible for the musical service at each. How innate and healthy was his genius may be inferred from the fact that for these musical services alone three hundred eighty cantatas seem to have been composed. Bach entered upon his labors at Leipsic at the age of thirty-eight, and continued therein until his death, in 1750. Let us examine briefly the nature of these labors, and endeavor to glean from them their characteristic principles. When Bach came to Leipsic he came full of experience and power. As a youth he had devoted himself to the perfecting of church music. Untiringly, unceasingly, with steadfast love, he had brought the laws of counterpoint and fugue to mingle with the grace of melody and the genius of a noble imagination. At Koethen his poetic and artistic temperament roamed through the realms of nature, and brought us near to the understanding of their varied utterance. At Leipsic he finished the education of his life and his career as a tone-poet. He seeks again the shelter of the temple, but his genius has matured and ripened. He has examined the mysteries of life. His enthusiasm for the pure and good is stronger than ever, but life is still a mystery. Evil, pain, love deep as hell and high as heaven, the Titanic conflict of opposing principles, Nature and her decrees, sorrow, remorse, sweet, unaffected joy, and tranquil resignation--what mean they all? The answer, the solution, is on Calvary. There is no other solution. Intellect, deny it how it will, is baffled by the complex problem. The solution is of love through trouble and anguish. The Passion music of Bach rises to the sublime understanding of this grand mystery, and again the evolution of the old mystery and Passion-play consummates in a kindred mind. Again the triumph of faith is with the German. Luther frees the understanding from tyranny. Bach raises it to the region of genius and sympathy, and closes the labors of a thousand years of Christian tonal effort by his Passion music of the Redeemer. But while this is so, he initiated the modern period of tonal art, leaving, however, this Passion music as his noblest legacy, as if to warn men that no other solution of life exists.