[96] Both these adjectives apply to decorative ornament. The general idea of “baroque” is “odd” or “outrageous.” “Rococo” implies an elaborate want of good taste.
[97] “Dux,” the leader, i.e. the “subject” of the fugue; “Comes,” the attendant, i.e. the “answer.” So called because the one follows the other as a matter of course, like master and servant.
[98] Meaning “The Philosophy of Spinoza,” i.e. an illustration of Spinoza’s method, given in musical notes.
[99] It is impossible to describe this action in words. See the diagrams in Grove’s “Dictionary of Music,” vol. ii. pp. 716 and 718.
[100] I possess a Zumpe pianoforte, date 1766, which is apparently the earliest surviving made by him in England. E. W. N.
[101] Such a judgment of Handel, which would be ungracious in the mouth of an Englishman, is not unfitting in a German. England alone, apparently, knows and cares about Handel, the athlete in choral music.
[102] i.e. the ornamentations, turns, appoggiaturas, etc.
[103] The doppelschlag was the “turn,” beginning with the note above.
[104] “For professors and amateurs.”
[105] Various names have been used for this “middle section” of the “sonata form,” e.g.—“Development,” “Fantasia,” “Free part,” “Durchführung, carrying through,” “Working-out.”