him one of the first composers for his instrument; and while these are indispensable in the complete library of the pianist, they are above value to the student in the development of his mechanism and the formation of his style.  A strong characteristic of the composer is his almost redundant profusion of ideas;[89] but his rich fecundity of invention is greatly counterbalanced by diffuseness of design, resulting from the want of that power of condensation by means of which greater interest is often given to less beautiful matter.”

And then, again, in an analysis of a Dussek Quintet, he remarks that in that composer’s works we may trace “not only the origin of many of the most beautiful effects with which later writers have been accredited, but some of the identical ideas by which these very writers have made their way into popularity.”

III.  Friedrich Wilhelm Rust

During the years 1744-45 a young man named Johann Ludwig Anton Rust went to Leipzig to study jurisprudence and philosophy.  But he was also musical, and played the violin at performances given under the direction of J.S.  Bach.  On returning to his home at Woerlitz, Rust tried to inspire those around him with enthusiasm for the music of Bach.  With his younger brother, Friedrich Wilhelm, he was, at any rate, successful; for the latter, already at the age of thirteen, was able to play by heart the whole of the “Well-tempered Clavier.”  Later on, young Friedrich went to Halle to study law, and there not only made the acquaintance of Friedemann Bach, but, in return for attending to the correspondence of that gifted musician, he received from him instruction in composition, organ and clavier playing.  Afterwards, at Potsdam, he continued his clavier studies under Emanuel Bach.  Surely a finer training never fell to the lot of any pupil.  Schumann recommends young musicians to make Bach their daily bread; and of that, Rust must have had full weight.  But the list of his teachers is not yet exhausted; he went to Italy in 1765, and studied the violin under Tartini.  Rust composed operas, cantatas, concertos, and sonatas for violin,[90] and for pianoforte; the last-named, of which he wrote eight, now concern us.

The earliest, entitled “Sonata Erotica,” was composed in 1775; this work, however, was not published until the year 1888 (edited by his grandson, Dr. Wilhelm Rust,[91] late cantor of St. Thomas’).  It is the first of a series of works extraordinary in many ways—­in form, subject-matter, developments, and technique.  With regard to the last-named, there is something to say, and it had better be said at once.  Dr. E. Prieger, in his interesting pamphlet, F.W.  Rust:  Ein Vorgaenger Beethovens, remarks as follows:—­“While the grandson, full of enthusiasm, threw his whole soul into the creations of his ancestor, he gave a reflection, in his edition, of the pictures which had been vividly formed in his mind.”  To accomplish this