superscription, to represent _the bravado of Goliath_. The giant's
characteristic theme, on which the whole section is built, is as
follows:--

[Music illustration]

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:--

[Music illustration: Il combáttere frà l'uno e l'altro, e la loro
contésa. Vien tirata la selce colla frombola nella fronte del
gigante. Casca Goliath.]

This section, limited to sixteen bars, is not only an early, but a
notable specimen of programme-music; it is realistic, but not in the
least ridiculous. Rapid passages with points of imitation tell of the