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:--

[Music illustration]

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

[Music illustration]