THE

PIANOFORTE SONATA

ITS ORIGIN AND DEVELOPMENT

BY

J.S. SHEDLOCK, B.A.

MONUMENT OF BERNARDO PASQUINI IN THE CHURCH OF SAN LORENZO IN LUCINA ROME

SKETCHED BY STRITCH HUTTON

METHUEN & CO.
36 ESSEX STREET, W.C.
LONDON
1895

CONTENTS

PREFACE

The term "Piano e Forte" is, however, to be found in letters of a musical instrument maker named Paliarino, written, as we learn from the valuable article "Pianoforte," contributed by Mr. Hipkins to Sir George Grove's Dictionary of Music and Musicians, already in the year 1598, and addressed to Alfonso II., Duke of Modena. The earliest sonata for a keyed instrument mentioned in this volume was published in 1695; and to avoid what seems an unnecessary distinction, I have used the term "Pianoforte Sonata" for that sonata and for some other works which followed, and which are usually and properly termed "Harpsichord Sonatas."

I have to acknowledge kind assistance received from Mr. A.W. Hutton, Mr. F.G. Edwards, and Mr. E. Van der Straeten. And I also beg to thank Mr. W. Barclay Squire and Mr. A. Hughes-Hughes for courteous help at the British Museum; likewise Dr. Kopfermann, chief librarian of the musical section of the Berlin Royal Library.

J.S. SHEDLOCK.

London, 1895.

THE PIANOFORTE SONATA

CHAPTER I

In history we find certain names associated with great movements: Luther with the Reformation, or Garibaldi with the liberation of Italy. Luther certainly posted on the door of the church at Wittenberg his famous Theses, and burnt the Papal Bull at the gates of that city; yet before Luther there lived men, such as the scholar Erasmus, who have been appropriately named Reformers before the Reformation. So, too, Cavour's cautious policy paved the way for Garibaldi's brilliant victories. Once again, Leonardo da Vinci is named as the inventor of chiaroscuro, yet he was preceded by Fra Filippo Lippi. And in similar manner, in music, certain men are associated with certain forms. Haydn, for example, is called the father of the quartet; close investigation, however, would show that he was only a link, and certainly not the first one in a long evolution. So, too, with the sonata. The present volume is, however, specially concerned with the clavier or pianoforte sonata; and for that we have a convenient starting-point—the Sonata in B flat of Kuhnau, published in 1695. The date is easy to remember, for in that same year died England's greatest musician, Henry Purcell.

Before studying the history of the pianoforte sonata, even in outline, it is essential that something should be said about the early history of the sonata. That term appears first to have been used in contradistinction to cantata: the one was a piece sounded (suonata, from sonando) by instruments; the other, one sung by voices. The form of these early sonatas (as they appear in Giovanni Gabrieli's works towards the close of the sixteenth century) was vague; yet, in spite of light imitations, the basis was harmonic, rather than contrapuntal. They were among the first fruits of the Renaissance in Italy. But soon there came about a process of differentiation. Praetorius, in his Syntagma musicum, published at Wolfenbüttel in 1619, distinguishes between the sonata and the canzona. Speaking generally, from the one seems to have come the sonata proper; from the other, the suite. During the whole of the eighteenth century there was a continual intercrossing of these two species; it is no easy matter, therefore, to trace the early stages of development of each separately.

Marpurg, in his description of various kinds of pieces in his Clavierstücke, published at Berlin in 1762, says: "Sonatas are pieces in three or four movements, marked merely Allegro, Adagio, Presto, etc., although in character they may be really an Allemande, Courante, and Gigue." Corelli, as will be mentioned later on, gave dance titles in addition to Allegro, Adagio, etc. Marpurg also states that "when the middle movement is in slow time it is not always in the key of the first and last movements." This, again, shows intercrossing. The genuine suite consisted of several dance movements (Allemande, Courante, Sarabande, Gigue) all in the same key. But we find occasionally in suites, a Fugue or Fuguetta, or even an Aria or Adagio; and in name, at any rate, one dance movement has formed part of the sonata since the time of Emanuel Bach.

In 1611, Banchieri, an Olivetan monk, published at Venice his L'Organo suonarino, a work "useful and necessary to organists,"—thus runs the title-page. At the end of the volume there are some pieces, vocal and instrumental (a Concerto for soprano or tenor, with organ, a Fantasia, Ricercata, etc.), among which are to be found two sonatas, the one entitled, "Prima Sonata, doppio soggietto," the other "Seconda Sonata, soggietto triplicato." They are written out in open score of four staves, with mezzo-soprano, alto, tenor, and bass clefs. To show how the sonatas of those days differed both in form and contents from the sonata of our century, the first of the above-mentioned is given in short score. It will, probably, remind readers of "the first (i.e. sonatas) that my (i.e. Dr. Burney) musical inquiries have discovered, viz., some sonatas by Francesco Turini, which consisted of only a single movement, in fugue and imitation throughout."

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Turini was organist of Brescia Cathedral, and in 1624 published Madrigali a una, due, tre voci, con alcune Sonate e a tre, Ven. 1624. Between Turini, also Carlo Farina, who published violin sonatas at Dresden in 1628, and Corelli (b. 1653), who brought out his first work in 1683, one name of great importance is Giovanni Legrenzi.

In the eighth volume of Dr. Burney's musical extracts there are two sonatas, a tre, a due violini e violone, by Legrenzi (opera ottava, 1677). The first is in B flat. It commences with a movement in common time entitled La Benivoglia.

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An Adagio in G minor (only six bars) is followed by an Allegro in D minor, six-eight time, closing on a major chord; then eight bars common time in B flat (no heading); and, finally, a Presto (three-four) commencing in G minor and closing in B flat. None of the movements is in binary form.

The 2nd Sonata, in D, has five short movements. No. 1 has an opening of thirty-seven bars in common time, fugato. There is a modulation in the ninth bar to the dominant, and, later on, a return to the opening theme and key; in the intervening space, however, in spite of modulation, the principal key is not altogether avoided.

Sonatas of various kinds by Legrenzi appeared between 1655 and 1677. Then there were the "Varii Fiori del Giardino Musicale ouero Sonate da Camera, etc.," of Gio. Maria Bononcini, father of Battista Bononcini, the famous rival of Handel, published at Bologna in 1669, and the sonatas of Gio. Battista Vitali (Bologna, 1677). Giambatista Bassani of Bologna, although his junior by birth, was the violin master of the great Corelli. His sonatas only appeared after those of his illustrious pupil, yet may have been composed before. Of the twelve in Op. 5, most have many short movements; some, indeed, are so short as to be scarcely deserving of the name.

By the time of Arcangelo Corelli, who, as mentioned, published his first work (Op. 1, twelve sonatas for two violins and a bass) in 1683, sonatas answered to the definition given by Mattheson in his Das neu eröffnete Orchester (1713), in which they are said to consist of alternate Adagio and Allegro. J.G. Walther, again, in his dictionary of music,[1] which appeared at Leipzig in 1732, describes a sonata as a "grave artistic composition for instruments, especially violins." The idea of grouping movements was already in vogue in the sixteenth century. Morley in his Plain and Easy Introduction to Practical Music, printed in 1597, speaks of the desirableness of alternating Pavans and Galliards, the one being "a kind of staid musick ordained for grave dancing," and the other "a lighter and more stirring kind of dancing." Contrast was obtained, too, not only by difference in the character, but also, in the measure of the music; the former was in common, the latter in triple time.

With regard to the grouping of movements, Corelli's sonatas show several varieties. The usual number, however, was four, and the order generally—slow, fast, slow, fast. Among the forty-eight (Op. 1, 2, 3, and 4, published 1685, 1690, 1694, and 1700 respectively) we find the majority in four movements, in the order given above[2]; of the twelve in Op. 3, no less than eleven have four movements, but—

There are, however, eight sonatas consisting of three movements; and as this, a century later, became the normal number, we will give the list:—

It is interesting to note that each of the two sonatas (Op. 1, No. 7, and Op. 4, No. 10), most in keeping with its title of sonata, has the middle movement in a relative key. Op. 1, No. 7, begins with an Allegro in common time; and the short Grave is followed by a light Allegro in six-eight time. The first movement, with its marked return to the principal key, is very interesting in the matter of form. The other sonatas with suite titles have all their movements in the same key. Locatelli in his XII Sonate for flute, published early in the eighteenth century, has in the first: Andante, Adagio, Presto; also Nos. 3, 5, etc. So, too, in Tartini's Sonatas (Op. 1) there are also some in three (No. 3, etc.). But Emanuel Bach commenced with that number, to which, with few and unimportant exceptions, he remained faithful; likewise to the slow movement dividing the two quick ones. The three-movement form used by J.S. Bach for his concertos and sonatas no doubt considerably influenced his son. But already, in 1668, Diderich Becker, in his Musikalische Frülings-Früchte, wrote sonatas for violins, etc. and continuo, in three movements. (No. 10, Allegro, Adagio, Allegro. Again, Sonata No. 19 opens with a movement in common time, most probably an Allegro; then comes an Adagio, and, lastly, a movement in six-four, most probably quick tempo.) These sonatas of Becker a 3, 4 or 5, with basso continuo, are unfortunately only printed in parts. As a connecting link between the Gabrielis and Corelli, and more particularly as a forerunner of Kuhnau, Becker is of immense importance. We are concerned with the clavier sonata, otherwise we should certainly devote more space to this composer. We have been able to trace back sonatas by German composers to Becker (1668), and by Italian composers to Legrenzi (1655); those of Gabrieli and Banchieri, as short pieces, not a group of movements, are not taken into account. Now, of earlier history, we do know that Hans Leo. von Hasler, said to have been born at Nuremberg in 1564, studied first with his father, but afterwards at Venice, and for a whole year under A. Gabrieli. Italian and German art are thus intimately connected; but what each gave to, or received from, the other with regard to the sonata seems impossible to determine. The Becker sonatas appeared at Hamburg, and surely E. Bach must have been acquainted with them. Becker in his preface mentions another Hamburg musician—a certain Johann Schop—who did much for the cause of instrumental music. Schop, it appears, published concertos for various instruments already in the year 1644. And there was still another work of importance published at Amsterdam, very early in the eighteenth century, by the famous violinist and composer G. Torelli, which must have been known to E. Bach. It is entitled "Six Sonates ou Concerts à 4, 5, e 6 Parties," and of these, five have three movements (Allegro, Adagio, and Allegro).

Corelli was the founder of a school of violin composers, of which Geminiani,[4] Locatelli,[5] Veracini,[6] and Tartini[7] were the most distinguished representatives; the first two were actually pupils of the master. In the sonatas of these men there is an advance in two directions: sonata-form[8] is in process of evolution from binary form, i.e. the second half of the first section is filled with subject-matter of more definite character; the bars of modulation and development are growing in number and importance; and the principal theme appears as the commencement of a recapitulation. We should like to say that binary is changing into ternary form; unfortunately, however, the latter term is used for a different kind of movement. To speak of a movement in sonata-form, containing three sections (exposition, development, and recapitulation) as in binary form, seems a decided misnomer.

The violinists just mentioned were the last great writers of sonatas in Italy. Emanuel Bach arose during the first half of the eighteenth century, and, henceforth, Germany took the lead; Bach was followed by Haydn, Mozart, and Beethoven. The influence of the Corelli[9] school was felt in Germany and also in England. Sonatas were published by Veracini at Dresden in 1721, and by Tartini and Locatelli at Amsterdam before 1740. Again Veracini was for a time solo violinist to the Elector of Dresden (1720-23); Tartini lived for three years at Prague (1723-26), while Locatelli, during the first half of the eighteenth century, made frequent journeys throughout Germany. Emanuel Bach, the real founder of the modern pianoforte sonata, must have been influenced by their works.

In a history of the development of the sonata generally, those of Corelli would occupy an important place, for in them we find not only fugal and dance forms, but also hints of sonata-form.

Dr. Parry, in his article on "Sonata" in Sir G. Grove's Dictionary of Music and Musicians, has named the Corrente of Corelli's 5th Sonata in Op. 4 as offering "nearly a miniature of modern binary form." The well-known Giga Allegro of the 9th Sonata (Op. 5), and the Allemanda Allegro of the 10th Concerto in C, also present remarkable foreshadowings.

Handel, however, furnishes a very striking illustration—

In the six "Sonatas or Trios for two Hoboys with a thorough bass for the harpsichord," said to have been composed already in 1696, we find quick movements in binary form. In some, the first section offers both a first and a second subject, while in the second section, after modulation, there is a return to the opening theme, though quite at the close of that section. A brief description of one will make the form clearer. The second Allegro of No. 4 (in F) has two sections. The first, which ends in the dominant key (C), contains forty-six bars. The opening theme begins thus:—

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At the twenty-ninth bar, a passage leads to the second theme—

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This second theme is, in a measure, evolved from the first. In any case, it is of subordinate character; and it differs slightly as given by first or second oboe, whereas the principal theme appears in exactly the same manner for both instruments.

The second section opens with developments of b, and modulation from C major to D minor; a also is developed, the music passing from the last-named key back to the opening one. There is a full close in that key, and then modulation to F. The remaining twenty-two bars give the first section in condensed form: first and second subjects and coda.[10]

It would be interesting to trace the influences acting on the youth Handel at the time when he wrote these sonatas. Most probably they were Johann Philipp Krieger's[11] sonatas for violins and bass; N.A. Strungk's sonatas published at Dresden in 1691; and more especially Agostino Steffani's "Sonate da Camera" for two violins, alto, and bass, published in 1683. An opera by the last-named, which appeared at Hanover in 1699, has an "Air de Ballet," which contains the first notes of "Let the bright Seraphim"; besides, it is known that Handel culled ideas and "conveyed" notes from works of other composers; also, that he turned them to the best account.

In the same year in which Corelli published his Op. 1 (1683), Domenico Scarlatti, the famous harpsichord player, was probably born; in the history of development his name is the principal one of importance between Corelli and Emanuel Bach. In the matter of technique he rendered signal service, but, for the moment, we are concerned with his contribution towards development. Scarlatti does not seem to have ever considered the sonata in the sense of a work consisting of several contrasting movements; all of his are of only one movement. The title "sonata" as applied to his pieces is, therefore, misleading. Whether the term was actually used by the composer himself seems doubtful. The first thirty of the sixty Scarlatti sonatas published by Breitkopf & Härtel appeared during the lifetime of the composer at Madrid. They are dedicated to John the Just, King of Portugal, and are merely entitled

Essercizi per Gravicembalo.

In editions of the eighteenth century the composer's pieces are styled Lessons or Suites. However, twelve published by J. Johnson, London, are described on the title-page as Sonatas modernas.

From the earliest days of instrumental music dance tunes were divided into two sections. The process of evolution is interesting. In the earliest specimens, such as the Branle given in the Orchésographie of Thoinot Arbeau, we find both sections in the same key, and there is only one theme. The movement towards the dominant note in this Branle may be regarded as a latent modulation. In time the first section was developed, and the latent modulation became real; then, after certain intermediate stages, the custom was established of passing from the principal to the dominant key (or, in a minor piece, to the relative major or dominant minor), in which the first section closed. But in Corelli,[12] and even in Scarlatti,[13] we find, occasionally, a return to an earlier stage (i.e. a first section ending in the same key in which it commenced). In most of his pieces Scarlatti modulates to the dominant; in minor, to the relative major. Some exceptions deserve mention. In the Breitkopf & Härtel collection, No. 26, in A major, passes to the minor key of the dominant; and No. 11, in C minor, modulates to the minor key of the dominant, but the section closes in the major key of the dominant.

Scarlatti's sonatas consist, then, of one movement in binary form of the early type. Only in a few of these pieces is there a definite second subject; in none, a return to the opening theme.

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In No. 26 there is just a return to the first bar (see second section, bar 11), but the previous ten bars show no modulation, and one can scarcely speak of thematic development. After the few bars of development and modulation, in some cases, the second section is found to consist merely of a repetition of some part of the first section, the key being tonic instead of dominant. This is, practically, embryonic sonata-form. The tonic and dominant portions of the first section are becoming differentiated; but the landmark, i.e. the return to the opening theme in the second section which divides binary from sonata form, is, in Scarlatti, non-existent. His first sections often consist of a principal theme and passages, also phrases indirectly connected with the opening one; sometimes of a chain of short phrases more or less evolved from the opening thought (see Nos. 1, 21, 29). (These and the numbers which follow refer to the Breitkopf & Härtel edition of sixty Scarlatti sonatas.) The composer often passes through the minor key of the dominant (in the first section) before arriving at the major; sometimes the major is introduced only late in the section (Nos. 7, 17, etc.), or minor remains (No. 26). We meet with a similar proceeding in Beethoven. Minor pieces often pass to the dominant minor, but end in major (i.e., first section). In Scarlatti there is, for the most part, no second subject, but frequently (Nos. 5, 7, 9, etc.) a concluding phrase which can, at times, be traced to the opening theme. Sonata 6, in F, shows a second subject of a certain independence. The best examples are to be found in Nos. 24 and 29 (in A and E); in these the character of the second subject differs from that of the first, and it is also in a minor key, which offers still another contrast.

And now a word or two respecting Scarlatti's method of development. He alters figures (Nos. 12 and 54), extends them (Nos. 9 and 54), but often merely repeats passages on the same degrees as those of the first section, or on different ones. He makes use of imitation (Nos. 7 and 36). Sometimes he evolves a phrase from a motive (No. 11). In No. 19 the development assumes a certain importance. It commences, not, as in most cases, with the opening theme or figure of the first section, but with a group of semiquaver notes which appears later in that section. In No. 20 Scarlatti preserves the rhythm, but with total change of notes (No. 20)—

The same number gives another interesting specimen of change of rhythm. In No. 48 he picks out an unimportant group of notes, and works it by imitation and sequence. There are some interesting specimens of development in the thirty sonatas printed from manuscripts in the possession of Lord Viscount Fitzwilliam by Robert Birchall. Scarlatti's development bars are seldom many in number.

After modulation and development, the music slides, as it were, into some phrase from the first section,[14] and allowance being made on account of difference of key (there the music was passing, or had passed from tonic; here it is returning to that key), the rest is more or less a repetition of the first section. More or less: sometimes the repetition is literal; at other times there is considerable deviation; and shortenings are frequent. With regard to style of writing for the clavier—a few canonic imitations excepted—there is no real polyphony. Most of the sonatas are in only two parts. The composer revels in rapid passages (runs, broken chords, simple and compound), wide leaps, difficult octaves, crossing of hands, and, of course, short shakes innumerable. Domenico Scarlatti was indeed one of the most renowned virtuosi on the clavier. Handel met him at Rome in 1708, and Cardinal Ottoboni persuaded them to compete with each other. We are told that upon the harpsichord the victory was doubtful, but upon the organ, Scarlatti himself confessed the superiority of his rival.[15]

Johann Kuhnau published a sonata for clavier in 1695, and this was followed up by a set of seven sonatas ("Frische Früchte") in 1696, and a few years later (1700) by the seven "Bible" Sonatas. That he was the first composer who wrote a sonata for the clavier is a point which cannot be overlooked, and in the evolution of the sonata he occupies an interesting position. In the "Frische Früchte" there is, as Dr. C.H. Parry truly remarks in his excellent article "Sonata" in Sir G. Grove's Dictionary of Music and Musicians, an awakening sense of the relation and balance of keys; but in the "Bible" Sonatas the form and order of the movements is entirely determined by the Bible stories. As specimens of programme-music they are altogether remarkable, and will, later on, be described in detail; they do not, however, come within the regular line of development. It was, of course, natural that such a new departure should attract the notice of John Sebastian Bach, who was Kuhnau's immediate successor as cantor of St. Thomas' School, Leipzig, and Spitta, in his life of Bach, refers to that composer's Capriccio sopra la lontananza del suo fratello dilettissimo, and reminds us that "Kuhnau as well as so many others had some influence on Bach." Of course, among the "so many others," Froberger's name—as we shall see later on from Kuhnau's preface—deserves a prominent place. In addition to what Kuhnau says, Mattheson has recorded that "Froberger could depict whole histories on the clavier, giving a representation of the persons present and taking part in them, with all their natural characters." When writing the Capriccio above named, Spitta believes that Bach was specially influenced by the last of the "Bible" Sonatas (we may perhaps add that Spitta tells us that Bach was intimately acquainted with Kuhnau). He indeed says: "We might doubt the early origin of the Capriccio if its evident 'dependence' on Kuhnau did not solve the mystery." Then, again, in a Sonata in D by Bach, published in the Bach Gesellschaft edition, Spitta calls attention to the opening subject in D, and does not hesitate to declare that "it is constructed on the pattern of a particular part of the story of Jacob's marriage" (the 3rd of the "Bible" Sonatas). His description of the Bach sonata would, doubtless, have attracted more notice but for the fact that copies of the Kuhnau sonatas were extremely rare; they were, we believe, never reprinted since the commencement of the eighteenth century. The first two have now been published by Messrs Novello & Co. The Kuhnau influence on Bach seems, however, to have been of short duration; for, after these juvenile attempts, as Spitta observes, "he never again returned to this branch of music in the whole course of a long artistic career extending over nearly fifty years." The fugue form absorbed nearly the whole attention of that master; and the idea of programme-music remained in abeyance until Beethoven revived it a century later.[16] Emanuel Bach inherited some of his father's genius, and he may instinctively have felt the utter hopelessness of following directly in his footsteps. J.S. Bach had exhausted the possibilities of the fugue form. It was perhaps fortunate for Emanuel Bach that, while still young, he left his father's house. After residing for a few years at Frankfort-on-the-Oder, he entered the service of Frederick the Great; and at the court of that monarch he came, at any rate, directly under Italian influence.

An interesting link between Kuhnau and E. Bach is Mattheson, who published at Hamburg in 1713 a sonata dedicated to the one who can best play it (derjenigen Persohn gewidmet, die sie am besten spielen wird). The work itself not being available, the following description of it by J. Faisst (Caecilia, vol. 25, p. 157) may prove interesting:—"It (i.e. the sonata) consists of only one movement, which, considering its evidently intentional wealth of technique, might be named a Toccata. But in form this one movement clearly belongs to the sonata order, and, in fact, holds a middle place between the tendencies towards sonata-form (the term taken in the narrower sense of form of one single movement) noticeable in Kuhnau, and the more developed shape which this form has assumed within recent times. We have here three sections. In the opening one, the theme, after its first exposition in the key of G, forms the basis of various passages, and then appears in the key of the dominant, followed again by passages of larger extent and richer contents; finally, in abbreviated form, it reappears in the tonic. The second section commences in the parallel key, E minor, with passages which recall those of the first section, and continues with the theme in the same key; afterwards theme and passages are developed through the keys of A minor, C major, G major, D major and B minor; in the last, in which the theme occurs, there is a full close. As third section the first is taken Da Capo." It is evident from a remark made by Mattheson in his Der volkommene Capellmeister, which appeared at Hamburg in 1739, that some of the sonatas written during the transition period, between Corelli and E. Bach, are lost, or, at any rate, have not been discovered.[17] Mattheson says: "During the last years successful attempts have been made to write sonatas for the clavier (formerly they were for violins or instruments of that kind); still, up to now, they have not the right form, and are capable of being touched (i.e. played) rather than of touching: they aim at the movement of fingers rather than of hearts."[18]

A little later than Mattheson (i.e. in 1721), Pier Giuseppo Sandoni, husband of the famous vocalist Cuzzoni, published at London "Sonate per il Cembalo," dedicated to the Duchess of Pembroke. No. 1, in D minor, has three movements, an Allemande, Largo, and Giga Presto; they are all short, and in two sections; and, as a rule, the writing is in two parts. No. 2, in F, opens with an Allegro of peculiar form. It has four sections, each of which is repeated; the first (seven bars) modulates to the key of C, closing thus—

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The second section (also consisting of seven bars) soon modulates to D minor, closing in that key in a manner similar to the first. The third section (ten bars) consists of modulation and slight development, and closes in A minor. The fourth section (fifteen bars) passes by means of broken chords (in imitation of the last bar of the previous section) through various keys, ending in the same fashion as the first section, only, by way probably of intensification at the end, there are seven instead of four quaver chords; the section, of course, ends in F. This movement in the matter of form offers an interesting link between Kuhnau and E. Bach. The second movement is a minuet, with variations; it certainly has a beginning, but seems endless. The 3rd Sonata, in A, resembles No. 1 in form, also in grouping of movements.

And in addition to the sonata of Mattheson, the Sei Sonatine per Violino e Cembalo, di Georgio Philippo Telemann, published at Amsterdam in 1721, will give us an approximate idea of the clavier sonata between Kuhnau and Emanuel Bach. Each number, by the way, is headed—title-page notwithstanding—a sonata. No. 1, in A major, consists of four movements, Adagio, Allegro, Largo, Allegro, and all the four are in binary form. The second is naturally the most important; the others are very short and simple. In this Allegro, besides the allusion in the dominant key to the theme at the opening of the second section there is a return to it, after modulation, in the principal key. Some of the other sonatas are longer, but No. 1 represents, roughly, the other five as to form and contents. No. 6, in F, by the way, has only three movements: Vivace, Cantabile, and Presto.

The "Sonate per Gravicembalo, novamente composte," published by Giovanni Battista Pescetti in 1739, deserve notice, since they appeared three years before the six sonatas dedicated by Emanuel Bach to Frederick the Great. They are nine in number. In style of writing, order, and character of movements, they bear the stamp of the period in which they were written. Most of the movements in binary form are of the intermediate type, i.e. they have the principal theme in the dominant at the beginning of the exposition section, and again, later on, in the principal key. There is considerable variety in the order and number of movements. No. 1, for instance, has an Adagio, an Allegro, and a Menuett with variations. No. 2, in D, has four movements: Andante, Adagio, Allegro, Giga; the short Adagio is in D minor. No. 3, in G minor: Presto and A Tempo Giusto (a dignified fugue). The influence of Handel is strong, also that of Scarlatti. Bars such as the following—

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foreshadow, in a curious manner, the Alberti bass.

A great number of clavier sonatas were written about the time during which Emanuel Bach flourished: his first sonatas appeared in 1742, his last in 1787. An interesting collection of no less than seventy-two sonatas (sixty-seven by various composers; five anonymous), issued in twelve parts, under the title Oeuvres mêlées (twelve books, each containing six sonatas), was published by Haffner at Würzburg, somewhere between 1760 and 1767. And another collection of symphonies and sonatas, principally by Saxon composers, was published at Leipzig in 1762 under the title Musikalisches Magazin. We will give the names of some of the chief composers, with titles of their works, adding a few other details. It is difficult in some cases to ascertain the year of publication; and it is practically impossible to say when the sonatas were actually composed:—