16 SEBASTIAN BACH AND HIS WORKS. 



sembling more the shifting scenes of a pantomime than anything for 

 which we can reasonably account ; no turns of melody in any sin- 

 gle part which are not in strict accordance with the character of the 

 rest ; no repetition, caused rather by deficiency of ideas in the com- 

 poser than by any consciousness that it will conduce to the effect of 

 the composition. On the contrary, every note is so exactly in its 

 place — the modulation is so even, so beautiful, like a fair stream 

 gliding through peaceful and flower-besplanged meadows — each 

 single melodv sympathises so admirably with its companions, and 

 with the disposition of the whole — the flow of the richest, the most 

 poetical, ideas, is so boundless, so exhaustless — that we cannot but 

 regard these productions as the most beautiful to be found in the 

 entire range of the musical art. 



3. Ihr tverdet Wehten und Htulen ; 



4. Dm Hirte Israel ! H'orc ; 



5. Herr ! gehe nicht ins Gericht ; are all three on the same plan 

 as the foregoing. Nos. 3 and 5 contain each a chorus of unexam- 

 pled learning and grandeur, and airs of the highest beauty and ide- 

 ality. No. 4 might aptly be designated a sacred pastoral ; and as an 

 example of happy mixture of the two styles, as well as from its 

 great beauties as a composition, it is worthy of all admiration. 



6. Gotles Zcil ist die allerbesle Zeif. — This piece was certainly 

 composed when our author's powers were yet immature. No one 

 at all acquainted with his works can for a moment doubt as to this 

 being one of them ; but yet, amid a great deal of what is good and 

 beautiful, we have here and there an infusion of what is weak, per- 

 haps even commonplace. It is highly important that we thus dis- 

 tinguish between what is wholly worthy of admiration and study, 

 and what is only partially so ; otherwise we lower the standard of 

 excellence, thus losings sight of the true aim of music, considered as 

 a fine art. The piece of which we are speaking would perhaps be 

 more pleasing than those we have just mentioned to uncultivated 

 tastes; but the propriety of admitting such as judges in the fine 

 arts we utterly deny, asserting, on the contrary, that it is only be- 

 cause the gi'eat majority of the public is uncultivated that this 

 principle has ever been admitted and acted upon. 



7. Grosse Passioiisimisik (Messiah), according to the gospel 

 of St. Mattliew. This is an oratorio in the primitive sense of the 

 term, being in its form essentially dramatic. It describes the last 

 days of our Saviour on this earth ; and is interspersed with chorals, 

 performing the same office as the chorus in the Greek tragedy. 

 One of these, Mensch hewein dein Sunde, is of more worth than 



