about teaching himself the art of composition.

The first thing he did was to take a number of concertos written for the violin by Vivaldi, and set them for the harpsichord. In this way he learned to express himself and to attain facility in putting his thoughts on paper without first playing them on an instrument. He worked alone in this way with no assistance from any one, and often studied till far into the night to perfect himself in this branch of his art.

From the very beginning, his playing on the new organ excited admiration, but his artistic temperament frequently threatened to be his undoing. For the young enthusiast was no sooner seated at the organ to conduct the church music than he forgot that the choir and congregation were depending on him and would begin to improvise at such length that the singing had to stop altogether, while the people listened in mute admiration. Of course there were many disputes between the new organist and the elders of the church, but they overlooked his vagaries because of his genius.

Yet he must have been a trial to that well-ordered body. Once he asked for a month's leave of absence to visit Lübeck, where the celebrated Buxtehude was playing the organ in the Marien Kirche during Advent. Lübeck was fifty miles from Arnstadt, but the courageous boy made the entire journey on foot. He enjoyed the music at Lübeck so much that he quite forgot his promise to return in one month until he had stayed three. His pockets being quite empty, he thought for the first time of returning to his post. Of course there was trouble on his return, but the authorities retained him in spite of all, for the esteem in which they held his gifts.

Bach soon began to find Arnstadt too small and narrow for his soaring desires. Besides, his fame was growing and his name becoming known in the larger, adjacent towns. When he was offered the post of organist at St. Blasius at Mülhausen, near Eisenach, he accepted at once. He was told he might name his own salary. If Bach had been avaricious he could have asked a large sum, but he modestly named the small amount he had received at Arnstadt with the addition of certain articles of food which should be delivered at his door, gratis.

Bach's prospects were now so much improved that he thought he might make a home for himself. He had fallen in love with a cousin, Maria Bach, and they were married October 17, 1707.

The young organist only remained in Mülhausen a year, for he received a more important offer. He was invited to play before Duke Wilhelm Ernst of Weimar, and hastened thither, hoping this might lead to an appointment at Court. He was not disappointed, for the Duke was so delighted with Bach's playing that he at once offered him the post of Court organist.

A wider outlook now opened for Sebastian Bach, who had all his young life struggled with poverty and privation. He was now able to give much time to composition, and began to write those masterpieces for the organ which have placed his name on the highest pinnacle in the temple of music.

In his comfortable Weimar home the musician had the quiet and leisure that he needed to perfect his art on all sides, not only in composition but in organ and harpsichord playing. He felt that he had conquered all difficulties of both instruments, and one day boasted to a friend that he could play any piece, no matter how difficult, at sight, without a mistake. In order to test this statement the friend invited him to breakfast shortly after. On the harpsichord were several pieces of music, one of which, though apparently simple, was really very difficult. His host left the room to prepare the breakfast, while Bach began to try over the music. All went well until he came to the difficult piece which he began quite boldly but stuck in the middle. It went no better after several attempts. As his friend entered, bringing the breakfast, Bach exclaimed:—"You are right. One cannot play everything perfectly at sight,—it is impossible!"

Duke Wilhelm Ernst, in 1714, raised him to the position of Head-Concert Master, a position which offered added privileges. Every autumn he used his annual vacation in traveling to the principal towns to give performances on organ and clavier. By such means he gained a great reputation both as player and composer.

On one of these tours he arrived in Dresden in time to learn of a French player who had just come to town. Jean Marchand had won a great reputation in France, where he was organist to the King at Versailles, and regarded as the most fashionable musician of the day. All this had made him very conceited and overbearing. Every one was discussing the Frenchman's wonderful playing and it was whispered he had been offered an appointment in Dresden.

The friends of Bach proposed that he should engage Marchand in a contest, to defend the musical honor of the German nation. Both musicians were willing; the King promised to attend.

The day fixed for the trial arrived; a brilliant company assembled. Bach made his appearance, and all was ready, but the adversary failed to come. After a considerable delay it was learned that Marchand had fled the city.

In 1717, on his return from Dresden, Bach was appointed Capellmeister to the young Prince Leopold of Anhalt-Cöthen. The Prince was an enthusiastic lover of music, and at Cöthen Bach led a happy, busy life. The Prince often journeyed to different towns to gratify his taste for music, and always took Bach with him. On one of these trips he was unable to receive the news that his wife had suddenly passed away, and was buried before he could return to Cöthen. This was a severe blow to the whole family.

Four years afterward, Bach married again, Anna Magdalena Wülkens was in every way suited for a musician's wife, and for her he composed many of the delightful dances which we now so greatly enjoy. He also wrote a number of books of studies for his wife and his sons, several of whom later became good musicians and composers.

Perhaps no man ever led a more crowded life, though outwardly a quiet one. He never had an idle moment. When not playing, composing or teaching, he would be found engraving music on copper, since that work was costly in those days. Or he would be manufacturing some kind of musical instrument. At least two are known to be of his invention.

Bach began to realize that the Cöthen post, while it gave him plenty of leisure for his work, did not give him the scope he needed for his art. The Prince had lately married, and did not seem to care as much for music as before.

The wider opportunity which Bach sought came when he was appointed director of music in the churches of St. Thomas and St. Nicholas in Leipsic, and Cantor of the Thomas-Schule there. With the Leipsic period Bach entered the last stage of his career, for he retained this post for the rest of his life. He labored unceasingly, in spite of many obstacles and petty restrictions, to train the boys under his care, and raise the standard of musical efficiency in the Schule, as choirs of both churches were recruited from the scholars of the Thomas School.

During the twenty-seven years of life in Leipsic, Bach wrote some of his greatest works, such as the Oratorios of St. Matthew and St. John, and the Mass in B Minor. It was the Passion according to St. Matthew that Mendelssohn, about a hundred years later discovered, studied with so much zeal, and performed in Berlin, with so much devotion and success.

Bach always preferred a life of quiet and retirement; simplicity had ever been his chief characteristic. He was always very religious; his greatest works voice the noblest sentiments of exaltation.

Bach's modesty and retiring disposition is illustrated by the following little incident. Carl Philip Emmanuel, his third son, was cembalist in the royal orchestra of Frederick the Great. His Majesty was very fond of music and played the flute to some extent. He had several times sent messages to Bach by Philip Emmanuel, that he would like to see him. But Bach,