Book may have numerous typos, missing text, images, or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1902. Excerpt: ... ponents of the traditional school, and also with the sidelights thrown upon the question by the performances on, and editions for, the pianoforte, by Liszt, Rubinstein, and Tausig. It may be prejudice which prefers a fugue on the full organ throughout and imagines a certain loss of dignity in the changing of stops. One thing, however, must be frankly confessed, namely, the probability that in such a performance of a fugue the performer himself has a greater pleasure than many of his audience. But I am perfectly certain that the practice of picking out parts of the counterpoint--entries of the subject, points of imitation, etc.--on another manual, is not in accordance with the genius of the instrument or the purest style of organplaying. Many of the Fugues seem to invite more delicate treatment, e. g., the C minor, the small E minor, the small G minor, etc. But the giants in the collection like the G minor, and such preludes as the G minor and B minor seem to me most noble, most magnificent, when played as Bach himself played them. In the Fantasies, Toccatas, etc., the greatest freedom must surely be allowed, consistent with the dignity of the music and the integrity of the phrases and periods. It is such a consideration which makes the arrangement of the passage in the D minor Toccata quoted in the Monthly Musical Record of last October "musical extravagance" of the most unjustifiable kind. Bach is never afraid of repeating a good idea, and we know how his themes roll on in magnificent disregard of ordinary limits. Such a continuous torrent as rushes through these dozen bars is by no means uncommon in Bach's works. And I can conceive no greater mistake than that which seeks to break it up and parcel it off by jumps from one manual to the other. There is nothing in the character of t...
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