The 3rd Sonata, entitled “The Marriage of Jacob,” opens with a delightful Gigue; over it stands the superscription, “The joy of the family of Laban at the arrival of their relation Jacob.”  The beginning of the second section has, as usual, the subject inverted.  The music is gay and sparkling.  Then comes a section illustrative of Jacob’s seven years’ service for a wife.  The music expresses effort and fatigue, but by way of musical contrast sprightly bars intervene from time to time, to represent happy moments when the lovers meet.  Further on we have the bridal-song of the companions of Rachel:  a short, quaint, and delicate movement in minor and in triple time.  It commences thus:—­

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A short section follows, full of rapid semiquaver passages and points of imitation (such a mode of procedure is frequently adopted by the composer); and then comes a sudden change in the character of the music.  No tempo is marked, but, evidently, it must not be rapid.  It is a tone-picture of the deception practised by Laban upon Jacob when he substituted Leah in place of Rachel.  At first, it is a free recitative.  A quotation of a few bars will give a good idea of the extraordinary harmonies and rhythmical figures:—­

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And again—­

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The Fugue, short and vigorous, has a characteristic theme:—­

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A new section expresses Jacob’s happiness until he discovers the deceit practised on him.  The exact moment of displeasure is indicated by a superscription; the latter, however, was scarcely necessary—­the notes speak for themselves.  For there are reminiscences of the Laban recitative, of the fugue theme, and also (in augmentation) of the counter-subject.  This is, indeed, an early instance of the employment of representative themes.  The composer then naively orders the section descriptive of the wedding festivities to be repeated, to illustrate the second marriage of Jacob with the beloved Rachel.

The 4th Sonata deals with Hezekiah’s mortal sickness and recovery.  It is shorter than the preceding ones, and of simpler structure.  It opens with slow, sad music:  the prophet of God has summoned the king to prepare for death.  His ardent prayer to heaven is naturally expressed by a well-known Chorale, supported by most effective polyphonic harmony.  After a short thematic working of a figure from the Chorale, the latter is submitted to fresh treatment:  the movement (in six-four time) somewhat resembles the old Corrente.  The sonata concludes with a lively movement in binary form.  It is intended to depict the king’s 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.