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“Bach represents standing and moving, resting and hurrying, elevation and depression, with a naïveté almost characteristic of the first beginning of art. Without abandoning this minute detail-painting in his later works, his method now becomes, as it were, transfigured. His thought, vision, and emotion have remained unchanged, but in the later works the tone-painting is not so isolated; it is part and parcel of the melodic form that constitutes the basis of his movements, and his genius provided him with themes that contain, in their germ, all the possibilities of expression that the movement will afterwards require.” — Johann Theodor Mosewius
Bach represents standing and moving, resting and hurrying, elevation and depression, with a naïveté almost characteristic of the first beginning of art. Without abandoning this minute detail-painting in his later works, his method now becomes, as it were, transfigured. His thought, vision, and emotion have remained unchanged, but in the later works the tone-painting is not so isolated; it is part and parcel of the melodic form that constitutes the basis of his movements, and his genius provided him with themes that contain, in their germ, all the possibilities of expression that the movement will afterwards require.