[38] Whenever Percy Grainger performs this fugue in his own arrangement for pianoforte, he always electrifies an audience.
[39] It is worthy of observation that, for those who will listen to them intelligently, fugues do not merely demand such a state of mind but actually generate it.
[40] It is left to the teacher to explain to the student the key-relationship of Subject and Answer, and the difference between fugues, tonal and real; for as these points have rather more to do with composition they play but a slight part in listening to a fugue.
[41] Beethoven, commenting on the name, majestically said: "He is no brook; he is the open sea!"
[42] For a very suggestive article on this point by Philip Greeley Clapp see the Musical Quarterly for April, 1916.
[43] Some eloquent comments on Bach's style and significance may be found in Chapter III of The Appreciation of Music by Surette and Mason.
[44] It is assumed that the music-lover has, as his birthright, an instinctive knowledge of the grouping of tones and semitones in our modern scales. Those who may wish to refresh their knowledge are recommended to the second Chapter in Foote and Spalding's Harmony, and to the chapter on Scales in Parry's Evolution of the Art of Music.
[45] Color in music is brought about chiefly through their use.
[46] As for example the famous one of Chopin.
[47] Even great composers have at times made this mistake, e.g., Mendelssohn in the first movement of the Scotch Symphony, where the interminable length of the portion in A minor (of all keys!) is simply deadening in its effect. Compare also the Prelude to the Rheingold; where, however—for dramatic purposes—to depict the world as "without form and void" Wagner remains in the key of E-flat major for some 150 measures!