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Then follows a section in A minor. A Chorale represents the prayer to God of the terrified Israelites, while the palpitating quaver accompaniment stands for the terror which seized them at sight of the giant; the harmonies are very striking. This Chorale setting should be compared with one by Bach (Spitta's Life of Bach, English edition, vol. i. p. 216), said to owe its existence to the influence of Georg Böhm, organist at Lüneburg at the commencement of the eighteenth century. Next comes a little pastoral movement (C major, three-four time) expressive of David's courage and of his confidence in God. Then a tone-picture is given of the encounter; the heavy tread of the Philistine is heard in the bass, while semiquaver passages, evolved from a figure in the preceding movement, evidently portray the spirited youth. One realistic bar scarcely needs the explanation given by Kuhnau that it is the slinging of the stone which smote the Philistine in his forehead; and the same may be said of the "Goliath falls" in the following bar:—
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