Failure to catch the opening phrase and preliminary
rhythms of the composition makes it impossible to appreciate the tonal
forms into which they develop. Nor may the mind linger over any one
part, if we would grasp the work as an unbroken whole. That musical
creation alone can afford the noblest delights that prompts and rewards
the act of thus closely following the composer's thought.
An instance of absolute knowledge of music appears in an anecdote told
of Johann Sebastian Bach. When he was present at the performance of a
fugue and one of his two most musical sons was with him, he would, as
soon as the theme was heard, whisper what devices and developments he
thought should be introduced. If the composer had conformed to his idea
of construction he would jog his son to call attention to the fact.
Otherwise, his exceeding modesty and reverent comprehension of the
difficulties of the art made him the most lenient of critics.
Few have reached the luminous heights this master of masters trod.
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