is then treated fugally, and with marked effect. Then comes the
journey from Egypt to the land of Canaan. The bass, progressing in
quavers, expresses motion. From time to time a curious syncopated
semiquaver figure is heard in the upper part: it may be intended to
represent sobbing. The following quotation, including one of these
"sobbing" passages, will give a good idea of the character of this
section--

[Music illustration]

A short, solemn phrase is headed, "The Burial of Israel." Then a
finely worked-out fugal section depicts the great grief of the
bystanders. It is in four parts, but in one place the addition of a
fifth part and stretto treatment render the feeling of grief more
intense. A peaceful closing section in the major key and in triple
time expresses the consoled minds of the survivors.

From this _résumé_ of these "Bible" Sonatas, it will be seen that they
have nothing in common with the ordinary sonata of the time in which
they were written. They were bold attempts at programme-music; and,
as we have already said, the form is entirely determined by the
subject-matter.

In the old edition of these "Bible" Sonatas, in addition to the
preface of which we have made mention, Kuhnau has related the Bible
stories in his own characteristic language. We give a translation of
the first two, as specimens.