and "Here the Deities approve" (Book I, p. 206):
We repeat, it is undoubtedly in intentional recollection of the "Fiori musicali" that Bach here makes use of a mannerism which, moreover, was so familiar to him; it is through details of this sort that one is able to gain the mastery of a style which one desires to imitate. As for that, we must not forget that Bach wrote after nearly a century had elapsed. If you will, it is like an ancient painting copied by a modern master, who, although able to correct the perspective, would cause the picture to lose none of its archaic charm, while he would impart to it a certain quality of warmth. Thus, in the canzona, notice that progression of the soprano (beginning at the 48th measure) which ascends like the broad sweep of violins, then falls gracefully back upon a well-rounded line—a contrast expressing great tenderness, compared with the austere rigidity of the scholastic rhythm with which the countersubject at the same time pursues its heavy course, in an obsolete style of counterpoint.
Here is truly the cantable,[93] as Bach called it, never hesitating to coin French words; the second part of the Canzona which follows this species of march is written in 3/2 time, after the established rule; it is more abstract, and not without prolixity.
If all the grace, the melodic freedom of the Canzone of Frescobaldi are surpassed in this work, an Alla Breve[94] in D major reminds us more of the studied style, of the continuous movement of the Ricercare, with some reminiscence of a piece which Pachelbel wrote under the same title and in the same key.[95]
The Passacaglia[96] again exemplifies the discreet cleverness which Bach henceforth displays in his imitations; he realizes that he has risen above his models, and he now chooses his colors with a critical eye. In this instance he takes us back to Buxtehude.
Among the works of the latter are various pieces of this same order, Passacaglias or Chaconnes, written over an ostinato; which is not necessarily confined to the bass in its original form, but which modulates here and there into closely related keys, or appears in other parts.
The seriousness of the beginning of the Bach Passacaglia cannot cause us to forget that calm entrance, in its very reserve so sad, of the Passacaglio (sic) of Buxtehude (ed. Spitta, No. I, p. 1):