then:
and finally
Each of these fugues is connected with the others by those brilliantly florid interludes for which Bach derived a taste, at least in his earlier years, from the influence of his studies of Buxtehude.
In the chorale, Buxtehude does not interest us in so great a degree as does Pachelbel; he is another of the "colorists." Furthermore, he was always more worldly than religious, even transforming St. Mary's Church into a concert-hall—for sacred concerts, if you will. But churches are not temples erected to the Fine Arts; while it may be true that the latter approach most closely the divine spirit, yet it must be recognized that pantheism, a philosophic teaching, has never been followed as a religion.[53]