as Georg Philipp Telemann and Kuhnau's own student Johann Friedrich Fasch, undermined his activities as Kantor. Kuhnau died in Leipzig on 5 June 1722. He was survived by three daughters, from a marriage of 1689. His pupils included not only Fasch, but also Johann David Heinichen and Christoph Graupner. Music Kuhnau's reputation today rests on four collections of music for keyboard, which he published in 1689–1700. Particularly important is the last volume, titled Musicalische Vorstellung einiger biblischer Historien, and known popularly as the Biblical Sonatas. It contains six sonatas, each outlining a biblical story in several contrasting movements: The Fight between David and Goliath Saul's melancholy cured by the music played by David on his harp Jacob's Wedding Hezekiah's sickness and restoration Gideon, Saviour of Israel Jacob's Death and Burial Kuhnau uses a wide variety of musical devices to portray the series of events (the sounding of trumpets, the hurling of David's stone, etc.) as well as the characters' psychological states (e.g. the Israelites' fright before a battle, or Hezekiah's joy darkened by a remembrance of his illness). These devices are not limited to changes of texture or harmony, but also include quotations from Protestant chorales (the Israelites' prayer is based on Luther's Aus tiefer Not schrei ich zu dir) and imitations of operatic arias (Gideon's fear). The other keyboard works by Kuhnau show a varied approach to form. The two parts of his Clavier-Übung include 7 suites each. The first is only in the major mode, and the second is only in the minor mode. The suites almost always begin with a prelude, and continue through the usual order of dances – allemande, courante, sarabande, gigue – occasionally with a minuet or aria placed between the dances. Kuhnau's preludes are almost always in two sections: a prelude and a fugue (or a fugato section), complete with countersubjects Kuhnau mentions in the preface. Kuhnau's Sonata in B-flat major, appended to the Neuer Clavier-Übung, anderer Theil, was for some time considered to be the earliest known keyboard sonata. Later research has shown that it was rather the first keyboard sonata published in Germany and that Kuhnau simply followed the naming convention established by contemporary foreign composers. The composer himself commented on the issue in the preface: I have also appended a Sonata in B-flat major, which should also be pleasing to the amateurs. Why shouldn't one provide such pieces for keyboard