of thirty sonatas he explained his purpose in these words: "Amateur, or
professor, whoever thou art, seek not in these compositions for any
profound feeling. They are only a frolic of art, meant to increase thy
confidence in the clavier."

In Germany, with grand old Father Bach, the keyboard instrument was
found capable of mirroring a mighty soul. The germ of all modern musical
design lies in his clavier writings. It has been aptly said of this
master of masters that he constructed a great university of music, from
which all must graduate who would accomplish anything of value in music.
Men of genius, from Mozart to the present time, have extolled him for
the beauty of his melodies and harmonies, the expressiveness of his
modulations, the wealth, spontaneity and logical clearness of his ideas,
and the superb architecture of his productions. Students miss the soul
of Bach because of the soulless, mechanical way in which they deface his
legacy to them.

His "Twelve Little Preludes" alone contain the materials for an entire
system of music. The "Inventions," too often treated as dry-as-dust
studies, are laden with beautiful figures and devices that furnish
inspiration for all time. As indicated by their title, which signifies a
compound of appropriate expression and just disposition of the members,
they were designed to cultivate the elements of musical taste, as well
as freedom and equality of the fingers. His "Well Tempered Clavichord"
has been called the pianist's Sacred Book. Its Preludes and Fugues
illustrate every shade of human feeling, and were especially designed to
exemplify the mode of tuning known as equal temperament, introduced into
general use by Bach, and still employed by your piano tuner and mine.

Forkel, his biographer, has finely said that Bach considered the voices