Noteworthy are also the Klemda, a small castle dating from 1260; the Lutherhaus, in which the reformer stayed with the Cotta family in 1498; the house in which Sebastian Bach was born, and that (now a museum) in which Fritz Reuter lived (1863-1874).
He had already, in 1859, as the result of a visit to Budapest, made certain modifications in the Bach system by way of concession to Magyar sentiment, and in 1861 he had had an interview with Dek, during which, though unconvinced by that statesmans arguments, he had at least assured himself of his loyalty.
St John Passion (in 1888), followed after short intervals by the St Matthew Passion, the Christmas Oratorio, the Mass in B Minor, and finally by an annual Bach festival continuing for three days, which was discontinued after Wolle's removal to the university of California in 1905.
Modern composers have often produced their most characteristic orchestral effects with fewer contrasting elements than Bach uses in his Trauer-Ode, in the pastoral symphony in his Christmas Oratorio, in the first chorus of the cantata Liebster Gott, wann werd' ich sterben, and in many other cases; but the modern instrumental effects are as far outside Bach's scope as a long passage of preparation on the dominant leading to the return of a first subject is beyond the scope of a gigue in a suite.
But the treatment of instruments in Bach and Handel has a radical difference from that of the art which was soon to succeed it.
Thus the Four Short Masses of Bach are called short, not because they are on a small scale, which is far from being the case, but because they consist only of the Kyrie and Gloria.
In the time of Bach such writing was beautifully suited to enliven the dry glitter of the harpsichord, and Bach's duets for clavier and violin seem to have been sometimes played as trios with a violoncello playing from the clavier bass.
About 1153, Ivor Bach (or the Little), a neighbouring Welsh chieftain, seized the castle and for a time held William, earl of Gloucester, and the countess prisoners in the hills.
There is hardly one of Wagner's orchestral innovations which is not inseparably connected with his adaptation of music to the re q uirements of drama; and modern conductors, in treating Wagner's orchestration, as the normal standard by which all previous and contemporary music must be judged, are doing their best to found a tradition which in another fifty years will be exploded as thoroughly as the tradition of symphonic additional accompaniments is now exploded in the performances of Bach and Handel.
About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.