A minor bars 9 -17: subject in right hand, countersubject in left hand, E minor bars 18–32: first episode—first motif (b. 18–25), second motif (b. 26–32) bars 33–40: subject in right hand, countersubject in left hand, A minor bars 41–48: subject in left hand, countersubject in right hand, E minor bars 49–69: second episode—first motif inverted (b. 49–56), second motif inverted (b. 57–63), third motif (b. 64–69) bars 70–77: subject in right hand, countersubject in left hand, E minor bars 78–95: third episode—first motif inverted (b. 78–81), first motif (b. 82–85), third motif inverted (86–92), followed by link bars 96–103: subject in left hand, countersubject in right hand, A minor bars 104–108: coda with neapolitan sixths in bar 105 Reception and influence Eighteenth century In 1737, two years before the publication of Clavier-Übung III, Johann Adolf Scheibe had made the above notoriously unfavourable comparison between Bach and another composer of the time, now identified as Georg Frideric Handel. His comments represented a change in contemporary musical aesthetics: he advocated the simpler and more expressive galant style, which after Bach's death in 1750 would be further developed during the classical period, in preference to fugal or contrapuntal writing, which by then was considered old-fashioned and out-moded, too scholarly and conservative. Although Bach did not actively participate in the ensuing debate on musical styles, he did incorporate elements of this modern style in his later compositions, in particular in Clavier-Übung III. Bach's musical contributions, however, could only be properly assessed at the beginning of the 19th century, when his works became more widely available: up until then much of his musical output—in particular his vocal works—was relatively little known outside Leipzig. From 1760 onwards a small group of ardent supporters became active in Berlin, keen to preserve his reputation and promulgate his oeuvre. The group centred around his son Carl Philipp Emanuel Bach, who in 1738 at the age of 24 had been appointed court harpsichordist at Potsdam to Frederick the Great, then crown prince before his accession to the throne in 1740. C.P.E. Bach remained in Berlin until 1768, when he was appointed Kapellmeister in Hamburg in succession to Georg Philipp Telemann. (His brother Wilhelm Friedemann Bach moved to Berlin in 1774, although not to general acclaim, despite his accomplishments as an organist.) Other prominent members of the group included Bach's former pupils Johann Friedrich Agricola, court composer, first director of