| [CHAPTER XXIII] — JOHN SEBASTIAN BACH | [265]-272 |
Bach as a composer — sketch — his clavier — attainments as virtuoso upon the clavier and the organ — choral works — Passion oratorios — his pre-eminence as writer of fugues — general sketch of the form of a fugue — prelude — mutually complementary — Bach's concertos — his rhythm.
| [CHAPTER XXIV] — GEO. FRIEDRICH HÄNDEL | [273]-281 |
The companion figure of Bach — early life — violinist at Hamburg — conductor, composer — first opera — Italy — successes there — England — Italian operas — oratorio "Messiah" — other oratorios — list of his works — Bach and Händel compared — Händel's place in art — personalities.
| [CHAPTER XXV] — EMANUEL BACH, HAYDN — THE SONATA | [282]-291 |
The sons of Bach — Emanuel Bach as composer — difficulty of founding a new form — Haydn — early years — conductor for Prince Esterhazy — compositions — the visit to London — the money he made — "The Creation" — second visit to London — Haydn and the sonata form — "The Last Seven Words" — his rank as tone-poet.
| [CHAPTER XXVI] — MOZART AND HIS GENIUS | [292]-304 |
Charming personality — childhood — early talent — concerts — Mozart at Bologna and the test of his powers — Haydn's opinion — early operas — "Marriage of Figaro" — success — accompaniments added to Händel's "Messiah" and other works — call to Berlin — mysterious order for the "Requiem" — death — general quality of Mozart's music.
| [CHAPTER XXVII] — BEETHOVEN AND HIS WORKS | [305]-315 |
A worthy successor to Haydn and Mozart — early years — orchestral leader — piano playing — his friends — Count Waldstein — his first visit to Vienna — settled in Vienna — compositions — life — appearance — place in art.