No. 5 is entitled “Gideon, the Saviour of Israel.”  From a musical point of view it is the least interesting of the set, yet it contains some curious programme effects.  It will be remembered that a sign from heaven was given to Gideon:  the fleece was to be covered with dew, but the ground to remain dry; the next night, however, the order of things was reversed.  Kuhnau expresses the latter by giving a theme in contrary motion.  This may almost be described as punning in music.  The composer, however, meant it seriously; from the tone of his preface, and the narration, with comments, which he has prefixed to each sonata, in addition to the explanatory words over the music itself, it is clear that his aim was to elucidate and intensify the Bible stories by means of his art.  He was a man, apparently, of deep religious belief.

The battle-picture is a curiosity, but, as music, of little value.  The flight of the Midianites is depicted in the following primitive manner:—­

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The 6th (and last) Sonata bears the title, “The Tomb of Jacob.”  We have, at first, mournful music:  the sons of the Patriarch are standing round the deathbed.  At length Jacob dies, and they “ponder over the consequences of the sad event.”  A quiet, expressive theme

[Music illustration]

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—­

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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 resume 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.

I. The Combat between David and Goliath