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A new section expresses Jacob's happiness until he discovers the deceit practised on him. The exact moment of displeasure is indicated by a superscription; the latter, however, was scarcely necessary—the notes speak for themselves. For there are reminiscences of the Laban recitative, of the fugue theme, and also (in augmentation) of the counter-subject. This is, indeed, an early instance of the employment of representative themes. The composer then naïvely orders the section descriptive of the wedding festivities to be repeated, to illustrate the second marriage of Jacob with the beloved Rachel.
The 4th Sonata deals with Hezekiah's mortal sickness and recovery. It is shorter than the preceding ones, and of simpler structure. It opens with slow, sad music: the prophet of God has summoned the king to prepare for death. His ardent prayer to heaven is naturally expressed by a well-known Chorale, supported by most effective polyphonic harmony. After a short thematic working of a figure from the Chorale, the latter is submitted to fresh treatment: the movement (in six-four time) somewhat resembles the old Corrente. The sonata concludes with a lively movement in binary form. It is intended to depict the king's joy at his recovery. There are a few bars adagio in each section: Hezekiah recalls the past. This is the only one of the sonatas which, as abstract music, would be satisfactory without any programme.
No. 5 is entitled "Gideon, the Saviour of Israel." From a musical point of view it is the least interesting of the set, yet it contains some curious programme effects. It will be remembered that a sign from heaven was given to Gideon: the fleece was to be covered with dew, but the ground to remain dry; the next night, however, the order of things was reversed. Kuhnau expresses the latter by giving a theme in contrary motion. This may almost be described as punning in music. The composer, however, meant it seriously; from the tone of his preface, and the narration, with comments, which he has prefixed to each sonata, in addition to the explanatory words over the music itself, it is clear that his aim was to elucidate and intensify the Bible stories by means of his art. He was a man, apparently, of deep religious belief.
The battle-picture is a curiosity, but, as music, of little value. The flight of the Midianites is depicted in the following primitive manner:—
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The 6th (and last) Sonata bears the title, "The Tomb of Jacob." We have, at first, mournful music: the sons of the Patriarch are standing round the deathbed. At length Jacob dies, and they "ponder over the consequences of the sad event." A quiet, expressive theme