every style of composition. This work on "Fugue," the "Passion Music," and the "Well-Tempered Clavichord " are considered the most splendid results of his genius.
But while this grand music of the old "cantor" of Leipzig is, to some, an exposition of the highest form of art, to others it is nothing but a dreary succession of sounds which falls on ears unattuned to its grandeur. But there is still another class, though we hope it be small, that sees for Bach's music a purpose which, though it may savor of utility, does not of dignity.
The use to which a proportion of modern concert-goers puts Bach's music has its precedent in the custom of a certain count who lived in Bach's day. This noble was particularly fond of Bach's music, and at the same time was occasionally troubled with insomnia.
At these times he would have one of his musicians play a particular set of variations "of a soothing and rather cheerful character," as we are told, variations that were written for him by Bach, and which so pleased him that he presented Bach with quite a sum of money.
We are not accustomed to thinking of Bach's music as soporific in character, and yet if one glances over an average audience during a programme containing a goodly amount of Bach, we may see that with some people it has that tendency.
208.—PECULIAR ENGLISH.
Not every singer, even though he be able to excite the plaudits of thousands by his song language, can succeed in making a hit by spoken language. The well-known singer, Brignoli, seemed to be successful in both lines, as witness the following. It became necessary, one evening, for some one to apologize for the nonappearance of the prima donna, as she was suffering from a sore throat. The manager sent Brignoli before the
