In 1683 appeared Purcell's Twelve Sonatas for two violins and a bass, the very same year in which Corelli published his "Twelve Sonatas" (Op. 1). In his preface, Purcell frankly admits that "he has faithfully endeavoured a just imitation of the most famed Italian masters." Sir J. Hawkins supposes that "the sonatas of Bassani,[108] and perhaps of some other of the Italians, were the models after which he formed them." In our introductory chapter we mentioned the sonatas ("a due, tre, quattro, e cinque stromenti") by Vitali (1677); and of these, Mr. J.A. Fuller-Maitland, in his preface to the Purcell Society edition of the "Twelve Sonatas" of 1683, remarks that "it is difficult to resist the conclusion that these were the Englishman's models." Vitali undoubtedly exerted strong influence; yet Purcell himself describes his "Book of Sonatas" as "a just imitation of the most fam'd Italian Masters." These sonatas of 1683, also the ten which appeared after his death (among which is to be found No. 9, called the "Golden Sonata") in 1697, are of great importance and interest in the history of English music, but there is no new departure in them; this, at any rate in the earlier ones of 1683, is fully acknowledged by the composer.

In 1695, John Ravenscroft, a descendant, possibly, of Thomas Ravenscroft, published at Rome, sonatas for "violini, e violine, o arciliuto, col basso per l'organo" Opera prima, but they were mere imitations of Corelli.[109] In 1728 a certain John Humphries published by subscription "Twelve Sonatas for two violins and a bass"; and Hawkins, in his History, excites curiosity by declaring that they are "of a very original cast"; he adds, however, "in respect that they are in a style somewhat above that of the common popular airs and country dance tunes, the delight of the vulgar, and greatly beneath what might be expected from the studies of a person not at all acquainted with the graces and elegancies of the Italians in their compositions for instruments. To this it must be attributed that the sonatas of Humphries were the common practice of such small proficients in harmony as in his time were used to recreate themselves with music at alehouse clubs and places of vulgar resort in the villages adjacent to London; of these there were formerly many, in which sixpence, at most, was the price of admission." We have quoted this passage at length, because it indirectly confirms our statement concerning English music of this period. If Hawkins had had anything better to talk about, he would not have wasted space on the music of alehouses and "places of vulgar resort." It may, however, be asked whether Hawkins' report of Humphries' music is trustworthy. Now, although the sonatas offer nothing of special interest, we may certainly venture to say that one does not hear such well-written melodious strains in or near alehouses of the present day. The sonatas consist, for the most part, of four short movements. First, a slow introduction, then an Allegro somewhat in the Corelli style. An Adagio, often very short, separates this from the final movement, an Allegro in binary form, a Minuet, or a Gigue. This "Humphries" musical landmark is the only one we have to offer our readers between Purcell and Dr. Arne. But before proceeding to notice the sonatas of the latter, let us say something, if not of English music, yet of music in England during the first half of the eighteenth century.

Of the influence of Corelli we have already made mention. That influence was materially strengthened by the two celebrated violinist-composers, Veracini and Geminiani, who came to London in 1714; the former only paid a short visit; the latter made England his home. Then a greater composer than the two just mentioned had already arrived in London; this was Handel, whose Rinaldo had been produced with wonderful success on the 24th February 1710. The genius of Handel triumphed over all rivals, whether English or foreign, for well-nigh half a century; and this fact alone explains the decline of English art. But there was another strong influence which specially affected harpsichord music: the Lessons of Domenico Scarlatti had made their way throughout Europe. Thomas Roseingrave, who went to Italy in 1710, became acquainted with the composer, and on his return pleaded the cause of the Italian with an enthusiasm similar to that displayed a century later by Samuel Wesley for Scarlatti's great contemporary, J.S. Bach. Roseingrave edited "Forty-two Suites of Lessons for the Harpsichord" by Scarlatti. Still another Italian influence may be mentioned. "On the day," says Burney in his History of Music, "when Handel's Coronation Anthem was rehearsed at Westminster Abbey (1727) San Martini's[110] twelve sonatas were advertised." But Handel and Scarlatti make up the history of harpsichord music in England during the first half of the eighteenth century. Burney expressly states that "the Lessons of the one and the Suites of the other were the only good music for keyed instruments."

Thomas Augustine Arne (1710-78) is principally known as a writer of operas and incidental music to plays, but he also wrote organ concertos, and sonatas for the harpsichord. The latter, entitled "VIII. Sonatas or Lessons for the Harpsichord," probably appeared somewhere about 1750. With this double title it is, of course, impossible to regard them as serious sonatas. No. 8, for instance, consists merely of a Minuet with variations! No. 1 opens with an Andante in binary form, while two bars of Adagio lead to another Allegro of similar structure. No. 2 is of a similar kind. The binary form is of the later type, i.e. there is a return to the principal theme in the second section. No. 3 opens with a Prelude, and a note states that "in this and other Preludes, which are meant as extempore touches before the Lesson begins, neither the composer nor performer are oblig'd to a Strictness of Tune." The pleasing Allegro which follows shows the influence of Scarlatti-Handel. The sonata concludes with an attractive Minuet and variations. No. 5, with its graceful Gavotta, and No. 7 might be performed occasionally. Arne's sonatas, if not great, contain some neat, melodious writing.

The second half of the century still offers poor results so far as national music is concerned. We have spoken of Handel and Scarlatti; but, after them, music in England again fell under foreign rule. In the very year of Handel's death, John Christian Bach arrived in London, which he made his home until his death in 1782. During that period the sonatas of Mozart and Haydn became known; and the two visits of the latter to England in 1791-92 and 1794-95 gave greater lustre to his name, and rendered his style still more popular. And all this foreign influence (strong inasmuch as Haydn and Mozart belonged to a school with which J.C. Bach was in sympathy) is reflected in the English music of the period. John Burton published, in 1766, "Ten Sonatas for the Harpsichord," which are of interest. Some of the writing recalls Scarlatti, but there are also many touches of harmony and melody which tell of later times. The introduction of the Alberti bass is one clear sign of a post-Scarlatti period. Burton paid a visit to Germany in 1752, and was, we presume, acquainted with Emanuel Bach's compositions. We may also name six sonatas by I. Worgan, M.B., published in 1769. At the head of No. 5, the composer remarks: "Lest the consecutive fifths at the beginning of the theme of this movement should escape the critic, the author here apprizes him of them." They are as follows:—

[Music illustration]

The critic of those days must have been very dull if he required such assistance, and his ear very sensitive if offended by such consecutives as these. Lastly, we may give the name of a lady, Miss Barthelemon,[111] whose interesting Sonata in G (Op. 3) was dedicated to Haydn.

In the early part of the nineteenth century, John Field, whose nocturnes are still played and admired, wrote three sonatas (Op. 1), and dedicated them to Muzio Clementi, his teacher. No. 1 is in E flat; No. 2, in A; and No. 3, in C minor. They all consist of only two movements (No. 1, Allegro and Rondo; No. 2, Allegro and Allegro Vivace; No. 3, Allegro and Allegretto). In the first two sonatas the two movements are in the same key; in the last, the first movement is in C minor, the second, in C major. The Rondo of No. 1 contains foreshadowings of Chopin. Field's music, generally, is old-fashioned, and not worth revival; none, indeed, of his sonatas have ever been played at the Monday Popular Concerts.

Samuel Wesley[112] wrote three sonatas (Op. 3), likewise eight, dedicated to the Hon. Daynes Barrington, yet we fear that not one of them would prove acceptable at the present day. One looks in vain for the name of Wesley in the Popular Concert Catalogue. Cipriani Potter (1792-1871) deserves a word of mention. Beethoven, writing to Ries, in London, in 1818, says: "Potter has visited me several times; he seems to be a good man, and has talent for composition." His Sonata in C (Op. 1, dedicated to Mrs. Brymer Belcher) consists of three movements: an Allegro non troppo with a Haydnish theme—

[Music illustration]

an attractive Adagio, and a dainty and pleasing Rondo pastorale. The influence of Beethoven and Clementi is great; the individuality of Potter, small. But the sonata is thoroughly well written, and—at any rate as an educational piece—the Rondo deserves reprinting.

Sir G.A. Macfarren composed three sonatas for the pianoforte. No. 3, in G minor, dedicated to Miss Agnes Zimmermann, is a work which presents several features of interest. In the first long movement (an Allegro moderato) there is no repeat. The exposition section really contains three subjects: an opening one in the principal key, a second in D flat, and a third in the orthodox key of the relative major. The development section, in which there is some solid counterpoint, is decidedly clever; much use is made in it of the second subject mentioned above. The Andante is a movement of simple structure. A brisk Scherzo, in the making of which Weber and Schumann seem to have lent a helping hand, leads to a long Finale,—the last, but by no means the most successful of the four movements. We have just spoken of influences; Weber may be said to have presided at the birth of the opening Allegro, and Mendelssohn at that of the Finale. The appearance in the Finale of the D flat theme from the Allegro deserves note. This sonata may not be an inspired work, yet it has many excellent qualities.

Of Sir Sterndale Bennett's two sonatas, the 1st, in F minor (Op. 13, dedicated to Mendelssohn), commences with a long movement (Moderato expressivo), in which there are traces of the master to whom it is dedicated; it is followed by a clever Scherzo and Trio, a melodious Serenata, and a weak Presto agitato. The first, second, and last movements are in F minor, the third in F major. Schumann, in a brief notice of the work, describes it as excellent. The sonata (Op. 46) entitled "The Maid of Orleans" commences with an Andante pastorale in A flat, above which are written the following lines from Act iv. Scene 1 of Schiller's play, Die Jungfrau von Orleans:—

"Schuldlos trieb ich meine Laemmer Auf des stillen Berges Hoeh."

"In innocence I led my sheep Adown the mountain's silent steep."

The movement is graceful and pleasing. Then follows an Allegro marziale:—

"Den Feldruf hoer ich maechtig zu mir dringen Das Schlactross steigt, und die Trompeten klingen."

Prologue: Scene 4.

"The clanging trumpets sound, the chargers rear, And the loud war cry thunders in mine ear."

Then an "In Prison" section with suitable superscription—

"Hoere mich, Gott, in meiner hoechsten Noth," etc.

Act v. Scene 2.

"Hear me, O God, in mine extremity."

Lastly, a Finale—

"Kurz ist das Schmerz, und ewig ist die Freude."

Act v. Scene 14.

"Brief is the sorrow, endless is the joy."

The title and the various superscriptions naturally cause the sonata to be ranked as programme-music, but of a very simple kind. It is easy to suggest pastoral scenes: a few pedal notes, a certain simplicity of melody, and a few realistic touches expressive of the waving of branches of trees, or the meandering of a brook, and the thing is accomplished.

Dr. C.H. Parry is an English composer whose name has of late been much before the public. He has written works both secular and sacred for our important provincial festivals; also chamber music, songs, etc.; and all his music shows mastery of form, skill in the art of development, and eclectic taste. For the present, we are, however, concerned merely with his sonatas. Like Brahms, he at first composed pianoforte sonatas: No. 1, in F; No. 2, in A minor and major. Brahms made a third attempt, but the two just mentioned are all that are known to us of Dr. Parry's. No. 1 opens with a non troppo Allegro, a smooth movement of somewhat pastoral character; the music, also the writing for the instrument, remind one occasionally of Stephen Heller. A bright, though formal Scherzo, with a well-contrasted Trio in the key of the submediant, is followed by a melodious Andante and a graceful, showy Allegretto.

No. 2 has an introductory movement marked maestoso; it is divided into three sections. The first opens with a phrase of dramatic character; the second, in the remote key of G sharp minor, contains two short, expressive, Schumannish themes treated in imitation; the third has passages leading back to the opening key and phrase. The Allegro grazioso which follows is a compact little movement; in form it is orthodox, yet there is no repeat to the exposition section. The influence of Heller is still felt, but also that of Schumann. Grace rather than power distinguishes the Adagio con sentimento, in the key of C sharp minor. The Scherzo is clever and effective, and the Allegretto cantabile, though the last, is scarcely the best of the four movements.

A manuscript Sonata in D flat (Op. 20) by Dr. C.V. Stanford, another prominent composer of our day, was produced at the Popular Concerts (4th February 1884). It consists of an Adagio leading to an Allegro moderato. Then follows an Intermezzo in the key of the relative minor. An Adagio (F major) leads to the Allegro Finale in D flat major. It is thus noticed in the Musical Times of March 1884:—"Some listeners have professed to perceive in the work a deliberate intention to violate the established laws of form, but we confess that to us no such design is apparent. In matters of detail, Mr. Stanford shows himself an independent thinker, but in all essentials his newest work is as classical in outline as could possibly be desired. The opening Adagio is exceedingly impressive, and the succeeding Allegro moderato is worked out with splendid mastery of the subject-matter, the general effect being that of a lofty design carried into execution by a thoroughly experienced hand. The succeeding Allegro grazioso, a modified kind of Scherzo, is vigorous, and the final Allegro commodo, with its excellent first subject, seems scarcely less important than the first movement."



CHAPTER XI

MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.

Some mention, however brief, must be made of various sonatas written by other contemporaries of the four composers discussed in the last chapter. After Beethoven, the only work which, from an evolution point of view, really claims notice is one by Liszt. All other sonatas are written on classical lines with more or less of modern colouring. Even M. Vincent d'Indy, one of the advanced French school of composers, has written a "Petite Sonate dans la forme classique."

Moscheles, in Germany, and Kalkbrenner, in France: these were once names of note. Their music is often clever and brilliant, but, to modern tastes, dry and old-fashioned; much of it, too, is superficial.

Among still more modern works may be named those of Stephen Heller, Raff, Rubinstein, Bargiel, and Grieg. The sonatas of Heller are failures, so far as the name sonata means anything. He was not a composer de longue haleine, and his opening and closing movements are dull and tedious; some of the middle movements—as, for example, the two middle ones of the Sonata in C major—are, however, charming. Bargiel's Sonata in C major (Op. 34) is written somewhat in "Heller" style, but it is stronger, and, consequently, more interesting than any of that composer's.

Raff and Rubinstein both wrote pianoforte sonatas, but these do not form prominent features in their art-work.

Grieg's one Sonata in E minor (Op. 7) is a charming, clever composition; yet as it was with Chopin, so is it with this composer: his smallest works are his greatest.

Of duet sonatas there is little more to do than to mention the principal ones. In the evolution of the sonata they are of little or no moment. Some, however, are highly attractive. It would be interesting to know who wrote the first sonata for four hands, but the point is not an easy one to settle. Jahn, speaking of Mozart's duets, remarks that "pianoforte music for two performers was then far from having attained the popularity which it now possesses, especially among amateurs." We imagine that the

Sonate a Quatre mains sur un Clavecin Compose par J.C. Bach —— a Amsterdam chez J. Schnitt Marchand de Musique dans le Warmoes-straat

was one of, if not the earliest. The part for the second clavier is printed under that of the first. The sonata consists of only two movements: an Allegro and a Rondo. The general style and treatment of the two instruments reminds one of Mozart, but the music is crude in comparison. Here is the commencement of the theme of the first movement—

[Music illustration]

The duet sonatas of Mozart are full of charm and skill, and will ever be pleasing to young and old. Dussek has written some delightful works, and Hummel's Op. 92, in A flat, is certainly one of the best pieces of music he ever wrote. Schubert's two sonatas (B flat, Op. 30; C, Op. 140) are very different in character: the one is smooth and agreeable; the other contains some of the noblest music ever penned by the composer.

Sonatinas are almost always written for educational purposes. No description, no analysis of such works, is necessary; only a list of the best. The "Twelve Sonatinas for the Harpsichord or Pianoforte, for the use of Scholars" (Op. 12), by James Hook (1746-1827), father of the well-known humorist, Theodore Hook, deserve honourable mention. Each number contains only two short movements; they are well written, and, though old, not dry. Joseph Bottomley, another English composer (1786-?), also wrote twelve sonatinas for the pianoforte.

Those of Clementi and Dussek seem destined to perennial life. The former composed twelve (Op. 36, 37, and 38), the latter six (Op. 20); and then, of course, of higher musical interest are the sonatinas of Beethoven (two) and Hermann Goetz (two). From an educational point of view, however, these are perhaps not of equal value with many others of inferior quality; but they are full of character and charm. Kuhlau (1786-1832), on whose name Beethoven wrote the well-known Canon, "Kuhl nicht lau," composed sonatas which, owing to their fresh, melodious character and skilful writing, justly take high rank. Op. 20, 55, 59, 60, and 88 have all been edited by Dr. H. Riemann. Among still more modern composers may be mentioned: Reinecke, whose three sonatinas (Op. 47), six sonatinas with "the right-hand part within the compass of five fingers" (Op. 127A), and (Op. 136) the "Six Miniature Sonatas" (another term for sonatinas) have given satisfaction to teachers, and enjoyment to many young pupils; also Cornelius Gurlitt, who has proved a prolific worker in this department of musical literature. His six sonatinas (Op. 121) and the duet sonatas (Op. 124,—really sonatinas) are exceedingly useful, and justly popular. Besides these, he has issued two series of progressive sonatinas: some by Diabelli, Pleyel, Steibelt, etc.; some from his own pen. Koehler's three sonatinas (without octaves), A. Loeschhorn's instructive sonatinas, E. Pauer's National Sonatinas (Ireland, Wales, Italy, etc.), and Xaver Scharwenka's two sonatinas are likewise of value.

Among various strange works written under the title of sonata we may count certain programme pieces. Thus, John Christian Bach, or "Mr. Bach," as he is named on the title-page, published a sonata "qui represente La Bataille de Rosbach," and an N.B. adds: "Dans cette Sonate La Musique vous montre le Comencement d'une Bataille le feu des Cannons et Mousqueterie L'Ataque de la Cavalerie et les L'Amendations des Blessees." This work consists of one movement (Allegro) in sonata-form. Except for the title, and the words "Canonade" and "Feu des Mousqueteries," it would be difficult to guess the subject. The music, which may be described as a study in the Alberti bass, is decidedly more correct in form than the French of the title-page. Then, again, Dussek composed a "Characteristic Sonata" describing "The Naval Battle and Total Defeat of the Grand Dutch Fleet by Admiral Duncan on the 11th of October 1797." But he was engaged in a much more suitable task when he wrote music expressing the feelings of the unfortunate Marie Antoinette.

There are three sonatas composed by A. Quintin Buee.[113] No. 3 is "for two performers on one instrument." In the last movement, the first performer is "Le Francais," and he rattles along with the popular tune "Ca ira," while the second, "The Englishman," steadily plays his national air, "Rule Britannia"; towards the close, fors fuat, "God save the King" and "Ca ira" are combined.



INDEX

ALBERTI, 109, 112.

Alberti Bass, 26, 30, 33 (note), 109, 110, 239.

Albrici V. 39, influence on Kuhnau, 42.

Ambros A.W. Pasquini, 73.

Arbeau T. Orchesographie, 15 and 16.

Arne T.A. 222, 225; Sonatas: 226, 227.

BACH C.P.E. 9, 12, 29 and (note), 31, 32, 87, 219, 228; Sonatas: "Frederick," 25, 85-91, Wuertemberg, 85, 92, 93, 115, "Reprisen," 85, 94-100, Toeplitz, 93 and 94, "Leichte," 100, 161 (note), three-movement, 175, Leipzig Collections, 85, 101-7; Beethoven, 86, 105, 106, Dr. Buelow, 96-8, Fasch, 40, Haydn, 93, 114, 115, 125, Kuhnau, 22, 24, Marpurg's Clavierstuecke, 91 and 92, Neefe, 161-3.

Bach J.C. 28 (note), 35, 227, 239; Sonatas: 107, 108, 236.

Bach J.C.F. 29, 35, 106.

Bach J.E. 26, 29.

Bach, J.S. 9, 14 (note), 229 (note); Organ Concerto, 76, sonata attributed to, 89 (note), Forty-eight Preludes and Fugues, 160 and 161, and fugue-form, 91; Beethoven, 182-5, Kuhnau, 20, 21, 48, 87, Rust, 152.

Bach W.F. 29; Sonatas: 26, 108.

Banchieri, 10; L'Organo suonarino (with sonata) 3-5.

Banister H.C. Life of Macfarren, 140.

Bargiel, 235; Sonata: 236.

Barry C.A. 218.

Barthelemon Miss, 229 and (note).

Bassani G. 7, 223 and (note).

Becker D. 10; Sonatas: 43.

Becker C.F. Hausmusik in Deutschlande, 49-50.

Beethoven L. v. 29, 31 and (note), 32, 33, 35, 45, 125, 194, 219; Reminiscences, 133-140, 167, 168, patrons and friends, 168-171, programme-music, 21, opus numbers, 112, 113, connection and number of movements, 106 and 107, 171, poetic basis, 178, 185-191, exposition section, 36, approach to recapitulation, 37, key of second subject, 177, the "repeat," 178, 179, Codas and Introductions, 179-181, central thought, 182, disorganisation, 191; Sonatas: (Op. 111), 57, 116, 174-6; table, 164-5; two-, 174-6, three-, 172-3, four-movement, 173-4, sonatinas, 238; Symphony in C, 102, 103, "Eroica," 135, sketches, 171-2, theme of Op. 106, 210, 211; Bach C.P.E. 86, 87, Bach J.S. 160, 182-5, Brahms, 210, 211, Haydn, 166, 167, Kuhlau, 238, Kuhnau, 57, Neefe, 161-3, Potter, 230, Scarlatti, 17, Schindler, 186-8, 190, Weber, 192, 195-198.

Benda G. 28, 83 and (note); Clavierstuecke, 84; Sonatas: 27.

Bennett S. Sonatas: 231-32.

Beringer O. 218.

Birchall R. 18, 145 (note).

Bitter C.H. 85, 92, 94 (note); E. Bach, 97 and 98.

Boehm G. Chorale, 54, 131.

Bononcini B. 6.

Bononcini G.M. 6.

Borwick L. 205.

Bottomley J. sonatinas, 238.

Brahms J. 120; Sonatas: 209-18. Chopin, 214, Clementi, 216, Liszt, 210, 214, Mendelssohn, 217, Schubert, 214.

Bossard, 42 (note).

Buee A.Q. Sonatas: 239, 240 and (note).

Bull Dr. 221.

Buelow Dr. H. v. and E. Bach's sonatas, 96-8, 160.

Burney Dr. 4, Musical Extracts, 6.

Burton J. Sonatas: 228.

Buxtehude, 131; Suites, 51 and 52.

Byrd W. 221, 222.

CARLYLE, his "Frederick the Great," 83 (note).

Chopin F. 229; Sonatas: 209.

Clementi, M. 33, 45, 119 (note), 130; Sonatas: 131, 132-42, sonatinas, 238; Beethoven, 131, 133, 134, Field, 229, Macfarren, 140, Mozart, 132, 133, Potter, 230, Scarlatti, 135.

Corelli A. 3, 6, 7, 8, 9, 11, 12, 13, 15, 16, 42, 45, 46, 74, 77 (note), 79, 87, 224.

Cramer J.B. 108, 146, 192, 193 and (note).

DANNREUTHER E. 133.

Davidson J.W. 149.

Dussek J.L. 33, 197, 237, 239; Letters to publishers, 142-5; Sonatas: 146-7, 148,' Le Retour a Paris, 149, Plus Ultra, 150, sonatinas, 238. Macfarren, 151-2, Mendelssohn, 147, Tomaschek, 145-6, Woelfl, 149.

FAISST J. 50, Analysis of a Mattheson Sonata, 22-3.

Farina C. 6.

Fasch J.F. 40.

Fasch C.F.C. and E. Bach, 40, 41.

Ferdinand, Prince Louis, death of 144, 145 (note).

Fetis F.J. 27, 38, 240 (note), extract from Biographie Universelle des Musiciens, 72-3.

Field J. Sonatas: 229.

Forkel, Letter from E. Bach to, 93-4, 96, 97.

Frederick the Great, 22, 40, 41, 82, 83 (note), 85, 88.

Frescobaldi, 71 (note).

Froberger J.J. 20, 42, 46, 51, 52.

Fuller-Maitland J.A. 51 (note), 223.

GABRIELI A. 10.

Gabrieli G. 2, 10.

Gaffi B. pupil of Pasquini, 71.

Galuppi, 27, 29, 30 and (note) 31.

Gasparini, pupil of Pasquini, 77 (note).

Geminiani, 11, 225.

Gluck, 28 (note).

Goethe, 191.

Goetz H. 238.

Graun C.H. 83.

Graun J.G. 82.

Graupner Chr. 39 ff.

Gretry, 27.

Grieco G. 80.

Grieg E. 235-6.

Grove Sir G. 20, 27 (note), 73, 111, 133, 145.

Gurlitt C. 238.

HANDEL G.F. 13, 14, 19, 26, 40, 57; Kuhnau 48-9.

Hasler H.L. 10.

Hasse J.A. 28, 29, 84 (note); Sonatas: 27, 32.

Hawkins Sir J. 223 ff.

Haydn J. 1, 37, 45, 87, 99, 164, 182, 228; New era, 30, anecdote, 117, programme-music, 185, European magazine, 114, 115, father of symphony, 111, "In Native Worth," 167, number and connection of movements, 33 and (note), 106, introductory slow movement, 138, three-movement form, 174, approach to dominant section, 34, second subject, 35, codas, 179, 189; Sonatas: 113, 115-20; Bach C.P.E. 93, Beethoven, 166, 167, Metastasio, 111, Porpora, 112.

Heller S. 233, 235-6.

Hering A. 38.

Hook J. sonatinas, 237.

Hook T. 237.

Hummel J.N. 192, 194 (Op. 92), 237.

Humphries J. 224.

IKEN Dr. C. Beethoven, 188-9.

Indy, Vincent d', 235.

JAHN Otto, 120, 129, 132, 236.

KALKBRENNER F.W.M. 134, 192, 235.

Keiser, 48.

Kittel C. 38 and (notes).

Krieger J.P. 14 and (note).

Kruegner S. 38 and (note).

Kuehnel, 39.

Kuhnau A. 38 and (note).

Kuhnau J. 10, 22, 38, 219; Writings and pupils, 39-41, German and Italian influences, 42, Bible Stories, 65-70, Seven Partitas, 41, Preface to Bible Sonatas, 52-4; Sonatas: (B flat), 43-4, Frische Clavier Fruechte, 44-50, "Bible," 19-21, 45, 46 (note), 48-9, 51, 54-65.

LEGRENZI G. 10; Sonatas: 6.

Le Tresor des Pianistes, 45 (note), 80, 94 (note).

Liszt F. 235; Beethoven, 176 Sonata: 210 and 218-20.

Locatelli 11, 12; Sonatas: 9.

Loeschhorn A. sonatinas, 239.

Lotti, teacher of Galuppi, 29, 77 (note).

MACFARREN SIR G.A. 140; Sonatas: 230 and 231; Dussek, 151 and 152.

Marpurg, 2, 3.

Martini San, 112, 226.

Mattheson, 7, 20, 23, 38 (note), 39 (note), 40 and (note), 42; Pasquini 74; Sonata: 22-3.

Matthisson, the poet, 157.

Mendel, 27, 72.

Mendelssohn F. 151 (note), 231; Dussek, 147.

Morley, 7.

Moscheles I. 235.

Mozart L. 34; Sonatas: 27.

Mozart W.A. 33, 34, 35, 37, 45, 87, 99, 169; Italian influence, 126-127, Op. 1, 33 (note), Requiem, 57, duets, 236 and 237; Sonatas: 120-5; Beethoven, 160-1, Clementi, 132, Haydn, 127-9, Kuhnau, 49.

Muethel J.G. 27, 28 (note), 33, 90 (note).

NEEFE C.G. Sonatas: 161-3.

Nichelmann C. 27, 28, 106.

PALESTRINA, 71, 73.

Paradies P.D. 27, 28, 108-110.

Parry Dr. C.H. 13, 20, 108; Sonatas: 232 and 233.

Pasquini B. (see frontispiece by S. Hutton), 14 (note), 74; His monument, 71-2; Operas and oratorio, 72, Toccatas and Suites, 72, 74-5, music in Berlin Library, 73, in British Museum, 75; Sonatas: 76-80; Fetis, 72-3, Handel, 77 (note), Kuhnau, 81.

Pasquini E. 71 (note).

Pauer E. 43, 80, 189 (note); sonatinas, 239.

Pescetti G.B. Sonatas: 25-6.

Pleyel, 239.

Poglietti, 74 and (note).

Potter C. Sonata: 130.

Prieger Dr. E. 153, 159, 193 (note).

Prout Prof. E. 147.

Purcell H. 2; Sonatas: 222-4.

RAFF J. 235, 236.

Ravenscroft J. 224.

Ravenscroft R. 224.

Reinecke C. 238.

Riemann Dr. H. 27 (note), 185, 238.

Rimbault Dr. 43.

Rochlitz F. 141.

Rockstro, 77 (note).

Rubinstein A. 235, 236.

Rudolph, Archduke, 165, 170, 201.

Rust Dr. W. 153 and (note).

Rust F.W. 152 ff.

Rust J.L.A. 152.

SANDONI P.G. Sonatas: 23-4.

Scarlatti A. 77 (note), 80.

Scarlatti D. 36, 73-4, 77 (note), 80, 89, 226; Sonatas: 15, 16-19; Bach C.P.E. 92 and 93, Paradies, 109.

Schaffrath C. 27 and (note), 31.

Scharwenka X. 239.

Scheibe J.A. Critischer Musikus, 48.

Schindler A. 140 (note), 141, 142, 172, 173, 189; Conversations with Beethoven, 186-8, 190.

Schop J. 10, 11.

Schubert F. 120, 195; Sonatas: 198-206, 237.

Schumann R. 152, 200, 202, 206; Fantasia, 209; Sonatas: 208-9; Beethoven, 207.

Sherard J. 223 (note).

Shakespeare, 190, 191.

Schoelcher V. Life of Handel, 19 (note), 77 (note).

Spenser H. 191.

Spitta Dr. P. 20, 21, 54, 57, 195.

Squire W.B. 51 (note).

Stanford Dr. C.V. Sonata: 233-4.

Steffani A. 77 (note); Sonatas: 14.

Steibelt D. 192, 193 (note); sonatinas, 239; Beethoven, 194.

TARTINI G. 9, 11 (note); Sonatas: 12.

Telemann G.P. 48; Sonatas: 24-5, sonatinas, 89 (note).

Tomaschek, account of Dussek's playing, 145-6.

Turini F. 5-6; Sonatas, 4.

UMSTATT J. 27 and (note), 32.

VERACINI, 11 and (note), 12, 225.

Vitali G.B. 7, 223.

Vogler, Abbe, 195, 196.

WAGENSEIL G. 31 and (note), 174; Sonatas: 27.

Weber C.M. v. 192; Sonatas: 194-8.

Weber M.M. v. 194.

Weitzmann C.F. Geschichte des Clavierspiels, 74, Pasquini, 75.

Wesley S. 226; Sonatas: 229-30.

Woelfl J. 174, 192; Ne Plus Ultra Sonata: 149-50, 193 (note); Beethoven, 194.

Worgan I. Sonatas: 228.

ZACH, 31, 32.

Zimmermann Miss A. 230.

MORRISON AND GIBB, PRINTERS, EDINBURGH

FOOTNOTES:

[1] Musikalisches Lexicon oder musikalische Bibliothek.

[2] Among the four-movement sonatas of Op. 1, No. 6 (in B minor) has the peculiar order: Grave, Largo, Adagio, Allegro.

[3] The Preludio Adagio only consists of four chords, or two bars; the Adagio, again, only consists of four bars. The sonata, therefore, may be considered as of three movements.

[4] 1680-1762.

[5] 1693-1764.

[6] 1685-1750 (Veracini is regarded as of the Corelli school, yet it should not be forgotten that his uncle, Antonio Veracini, is said to have published "Sonate a tre, due violini e violone, o arciliuto col basso continuo per l'organo" at Florence, already in 1662).

[7] 1692-1770.

[8] It is important to distinguish between sonata and sonata-form. The first movement of a modern sonata is usually in sonata-form; but there are sonatas (Beethoven, Op. 26, etc.) which contain no such movement. Sonata-form, as will be shown later on, has been evolved from old binary form. By sonata is understood merely a group of movements; hence objection may certainly be taken to the term as applied to the one-movement pieces of Dom. Scarlatti, which are not even in sonata-form.

[9] It must be remembered that Corelli spent some time in Germany between 1680 and 1683, the latter being the year of publication of his first sonatas at Rome.

[10] In J.S. Bach's 2nd Sonata for Flauto traverso and Cembalo (third movement) there is a return to the opening theme in the second section; also in the Presto of the sonata for two violins and figured bass we have an example very similar to the "Hoboy" sonata of Handel.

[11] Krieger, by the way, studied under Bernardo Pasquini at Rome.

[12] Cf. Corelli: Corrente in 10th Sonata of Op. 2; also Allemande and Giga of the next sonata.

[13] Cf. Scarlatti: No. 10 of the sixty sonatas published by Breitkopf & Haertel.

[14] When there is clearly a second subject, that of course offers the point of return. (See Nos. 24 and 39.)

[15] See V. Schoelcher's Life of Handel, p. 23.

[16] See, however, chapter on the predecessors of Beethoven.

[17] See ch. iii. on Pasquini.

[18] "Seit einigen Jahren hat man angefangen, Sonaten fuer's Clavier (da sie sonst nur fuer Violinen u. dgl. gehoeren) mit gutem Beifall zu setzen; bisher haben sie noch die rechte Gestalt nicht, und wollen mehr geruehrt werden, als ruehren, das ist, sie zielen mehr auf die Bewegung der Finger als der Herzen."

[19] The public did not support the undertaking, and the other five never appeared.

[20] The copy in the British Museum has no violin part, which was probably unimportant.

[21] Emanuel Bach's predecessor as clavecinist at the Prussian Court.

[22] This name is not in Mendel, Riemann, Grove, nor Brown. Fetis, however, mentions him as Joseph Umstadt, maitre de chapelle of Count Bruehl, at Dresden, about the middle of the eighteenth century, and as composer of Parthien, and of six sonatas for the clavecin.

[23] See, however, the early Wuertemberg sonatas.

[24] Examples to be found in Rolle, Muethel, and Joh. Chr. Bach, etc.

[25] Gluck's six sonatas for two violins and a thorough bass, published by J. Simpson, London (probably about the time when Gluck was in London, since he is named on title-page "Composer to the Opera"), have three movements: slow, fast, fast,—the last generally a Minuet.

[26] E. Bach did some strange things. One of his sonatas (Coll. of 1783, No. 1) has the first movement in G major, the second in G minor, and the third in E major.

[27] Galuppi, No. 4, first set: Adagio, Spiritoso, Giga Allegro.

[28] Sometimes the last movement was a Tempo di Menuetto, a Polonaise, or even a Fugue.

[29] Wagenseil's Op. 1, Sonatas with violin accompaniment. No. 4, in C, has Allegro, Minuetto, Andante, and Allegro assai.

[30] As this experiment of Seyfert and Goldberg, in connection with Beethoven, is of special interest, we may add that Goldberg has all the movements in the same key, but Seyfert has both the Trio of the Minuet, and the Andante in the under-dominant. This occurs in two of his sonatas; in both, the opening key is major.

[31] There is, however, one curious exception. The first of the two "Sonates pour le clavecin, qui peuvent se jouer avec l'Accompagnement de Violon, dediees a Madame Victoire de France, par J.G. Wolfgang Mozart de Salzbourg, age de sept ans," published at Paris as Op. 1, has four movements: an Allegro in C (with, by the way, an Alberti bass from beginning to end, except at the minor chord with organ point near the close of each section, the place for the extemporised cadenza), an Andante in F (Alberti bass from beginning to end), a first and second Menuet, and an Allegro molto, of course, in C. The brief dedication to Op. 1 is signed:—"Votre tres humble, tres obeissant et tres petit Serviteur, J.G. Wolfgang Mozart."

[32] There is one exception: a sonata in G major, one of his earliest. See chapter on Haydn and Mozart.

[33] Scheibe; a return for the moment to a practice which was once of usual occurrence.

[34] Mention has been made in this chapter of a first section in a minor piece of Scarlatti's ending in the major key of the dominant.

[35] In the Sonatas of 1781, for instance, the first movement of No. 2, in F, has a definite second subject, but that is scarcely the case with the first movement of No. 3, in F minor.

[36] This is the date given by Mattheson. In some dictionaries we find 1667; this, however, seems to be an error, for that would only make Kuhnau fifteen years of age when he became candidate for the post of organist of St. Thomas'. Fetis, who gives the later date (1667), states that in 1684 Kuhnau became organist of St. Thomas', but adds: "Quoiqu'il ne fut age que de dix-sept ans."

[37] This Kittel must surely have been father or uncle of Johann Christian Kittel, Bach's last pupil.

[38] Mattheson, in his Grundlage einer Ehren-Pforte, published at Hamburg in 1740, complains that the names of Salomon Kruegner, Christian Kittel, A. Kuhnau, and Hering are not to be found in the musical dictionaries. The first and third have not, even now, a place.

[39] In a letter written by Graupner to Mattheson, the former, after mentioning that he studied the clavier and also composition under Kuhnau, says:—"Weil ich mich auch bei Kuhnau, als Notist, von selbsten ambot, u. eine gute Zeit fuer ihn schrieb, gab nur solches gewuenschte Gelegenheit, viel gutes zu sehen, u. wo etwa ein Zweifel enstund, um muendlichen Bericht zu bitten, wie dieses oder jenes zu verstehen?" ("As I offered myself as copyist to Kuhnau, and wrote some long time for him, such a wished-for opportunity enabled me to study much good (music), and, whenever a doubt arose to learn by word of mouth how this or that was to be understood.")

[40] In the Dictionnaire de Musique by Bossard (2nd ed. 1705) no mention is made under the article "Sonata" of one for the clavier, and yet the above had been published ten years previously.

[41] See also next chapter.

[42] Nearly the whole of this composer's works are said to have been destroyed at the bombardment of Dresden in 1760.

[43] The sonata is given in Le Tresor des Pianistes with the ornaments, yet even there more than a dozen have been omitted.

[44] The clavier by its very nature tended towards polyphony; the violin towards monody. And, besides, Kuhnau prided himself on the fugal character of his sonatas.

[45] Even in the later "Bible" Sonatas, figures from these sonatas recur.

[46] Cf. The Fitzwilliam Virginal Book, edited by J.A. Fuller-Maitland and W. Barclay Squire (Breitkopf & Haertel).

[47] Johann Jakob Froberger died in 1667.

[48] Meyer thinks he was probably the son of Ercole Pasquini, born about 1580, and predecessor of Frescobaldi at St. Peter's.

[49] Weitzmann and other writers, in referring to the work published at Amsterdam, spell the name Paglietti; it should, however, be Polietti or Poglietti.

[50] This piece was printed from a manuscript in the British Museum, which bears no such title. Judging, however, from the title of the libro prezioso mentioned on p. 71 [Transcriber's Note: p. 73], that name may originally have been given to it.

[51] The suite is printed in the Pasquini-Grieco Album by Messrs. Novello.

[52] Pasquini was no doubt one of the many composers who influenced Handel. When the latter visited Italy before he came to London in 1710, he made the acquaintance of the two Scarlattis (Alessandro and Domenico), Corelli, and other famous musicians at Rome; of Lotti and Steffani at Venice; and surely at Naples he must have known Pasquini, whose name, however, is not to be found either in Schoelcher or Rockstro. Only Gasparini, who was a pupil of Pasquini's, is mentioned by the former.

[53] "Si puo fare a Due Cembali."

[54] See the Novello Album.

[55] See the Novello Album.

[56] The post was offered to Bach in 1738, while Frederick was as yet Crown Prince, but he only entered on his duties in 1740.

[57] The four sons of Hans Georg Benda (Franz, Johann, Georg, and Joseph) were excellent musicians, and all members of the band of Frederick the Great. Georg, the third son, composer of Ariadne and Medea, two duodramas which attracted the attention of Mozart, was, however, the most remarkable.

[58] Cf. Carlyle's Frederick the Great, vol. iv. p. 134:—"Graun, one of the best judges living, is likewise off to Italy, gathering singers."

[59] The symphonies appear to be three-movement overtures transcribed for clavier. As a rule, the pieces marked as symphonies in this collection have no double bars, and, consequently, no repeat in the first movement. A "symphony" of Emanuel Bach is, however, marked as a "sonata" in the Six Lessons for the Harpsichord, published in London during the eighteenth century.

[60] The king was extremely fond of Hasse's music, but this composer, though German by birth, was thoroughly Italian by training.

[61] Yet, curiously, there is no chord in the later sonatas so large as the two on page 29 (6th Sonata)—

[Music illustration] and [Music illustration]

which, of course, are played in arpeggio.

[62] Excepting in the fifth, which, by the way, was, for a long time, considered to be the composition of J.S. Bach, and was published as such by J.C. Westphal & Co. This return to the opening theme is to be found already in the sonatinas for violin and cembalo by G.P. Telemann published at Amsterdam in 1718. See Allegro of No. 1, in A; the main theme is given as usual in the key of the dominant at the beginning of the second section. Then after a modulation to the key of the relative minor, a return is made to the opening key and the opening theme.

[63] Similar passages are to be found in the opening Vivace of J.G. Muethel's 2nd Sonata in G. He was a pupil of J.S. Bach, and either a pupil or close follower of E. Bach. His six published sonatas are of great musical interest; in his wide sweeping arpeggios and other florid passages he shows an advance on E. Bach. His 2nd Arioso with twelve variations is worth the notice of pianists in search of something unfamiliar. There are features in the music—and of these the character of the theme is not least—which remind one strongly of Beethoven's 32 C minor variations.

[64] A recitative is also to be found in a Mueller sonata.

[65] "In tempo in cui ebbi l'onore di darle Lezzione di Musica in Berlino."

[66] "The two sonatas, which met with your special approval, are the only ones of this kind which I have ever composed. They are connected with the one in B minor, which I sent to you, with the one in B flat, which you now have also, and with two out of the Hafner-Wuertemberg Collection; and all six were composed on a Claviacord with the short octave, at the Toeplitz baths, when I was suffering from a severe attack of gout."

A series of six sonatas by E. Bach is in the Tresor des Pianistes, and is said to have been published at Nuremberg in 1744; the work is also dedicated to the Duke of Wuertemberg, and the Opus number (2) is also given to it. There is mention of these sonatas in Bitter's biography of J.S. Bach's sons, but not of the others.

[67] Sechs ausgewaehlte Sonaten fuer Klavier allem von Carl Philipp Emanuel Bach bearbeitet und mit einem Vorwort herausgegeben von Hans von Buelow (Peters, Leipzig).

[68] In like manner he feels in the Andante, reflection, and in the final Andantino, melancholy consolation.

[69] Leipziger Mus. Almanack, 1783.

[70] The number of sonatas in each collection grew gradually smaller: first six, then three, lastly two. The dates of composition in the last column of above table may be studied with advantage: a later date of publication does not necessarily imply a more advanced work. Thus, of the three fine sonatas in the 3rd Collection (all of which are included in the Buelow selection), one was written eighteen, another fifteen, and the third (though first in order of reckoning), seven years before the date of publication (1781).

[71] See particularly the Sonata in G (collection of 1783).

[72] All of these consist of two movements; in the first, both movements are marked Andante.

[73] For the benefit of readers who may not possess Pohl's J. Haydn, we insert in brackets, after the Pohl numbers, those of the Holle edition.

[74] Cf. C.F. Pohl's J. Haydn, vol. ii. p. 311. They are in the keys of D, E flat, and A, and are interesting. The Tempo di Menuetto of the second presents a strict canon in the octave. In the last, too, there is a curious canon.

[75] The treble of the tenth bar of the second section has been frequently printed a third too high.

[76] This Sonata in E flat (Op. 78) was dedicated to Mrs. Bartolozzi, wife of the famous engraver, and to her Haydn also dedicated one in C major, marked as Op. 79,—a bright, clever and showy work, in which the influence of Clementi is sensibly felt. The development section of the opening Allegro, together with the return to the principal theme, is interesting. The Adagio, in the key of the subdominant, is one of Haydn's best, while the final movement (Allegro molto) is full of life and humour.

[77] "Clementi is a charlatan, like all the Italians" (Letter to his sister, June 7, 1783).

[78] It is thirty-five years since the fine one in B minor was performed at the Popular Concerts; and eighteen, since a Clementi sonata has appeared on a Popular Concert programme.

[79] The three Sonatas in E flat, F minor, and D, dedicated to Maximilian Frederick, Elector of Cologne, and published at Speyer in 1783, are not here taken into account.

[80] In mentioning any of them we shall first give the Breitkopf & Haertel numbers and then the Holle numbers in brackets, so that either edition may be referred to.

[81] At the time of their production Dussek was not born, Hummel was still a child, and Beethoven an infant "mewling and puking in the nurse's arms," if, indeed, the Beethovens were able to afford the luxury of a nurse. Even Emanuel Bach had not published any of his Leipzig Collections, neither had Haydn written his best sonatas. As Clementi was not only the survivor of Beethoven, but also his predecessor, a reminder as to the state of the sonata world, when Clementi first entered it, is not wholly unnecessary.

[82] London Symphony in E flat, No. 8 (No. 1 in Breitkopf & Haertel Catalogue).

[83] See p. 187 concerning Beethoven's conversation with Schindler.

[84] Schindler, Biography of Beethoven, 3rd ed. vol. ii. pp. 223-4.

[85]

HAMBURGH, June 12, 1801.

MR. CLEMENTI, MON CHER CLEMENTI,—

J'ai recu avec un extreme plaisir votre lettre, aussi que L'Autoscript dans celle de ma femme, je suis extremement touche du desir que vous temoignez de me revoir a Londres, mais etant une fois dans le Continent je ne puis resister au desir de faire une visite a mon Pere, d'autant plus qui je Lui ai deja ecrit que je viendrai pour Sure le voir cette etee, je scais par Ses lettres qu'il attend ce moment comme la plus grande, et peut-etre, la derniere jouissance de sa Vie; tromper dans une pareille attente un Viellard de 70 ans, ce serait anticiper sur sa mort, d'ailleurs en arrivant en Angleterre tout de suite je ne ferais egalement que manger mon argent, ou bien celui de ma femme jusqu'a l'hiver prochain, aussi ma resolution est prise de faire le Voyage de la Boheme; voire en passant Dresde, Prague et Vienne, ou je scais que je puis gagner de quoi me defrayer de tout mon voyage, et au dela: et de revenir a Londres vers le Novembre, vous pouvez compter ladessus, mais surtout sur le plaisir que j'aurai de revoir et d'embrasser un ami tel que vous—Mardi prochain part d'ici pour Londres un commis de Mr. Parish un des premiers Banquiers d'ici qui vous remetra en mains propres, par un de vos associes, mes trois nouvelles Sonates,—je suis occupe a metre au net. Les trois Concertinos qui vous recevrez aussi dans une quinzaine au plus tard, dont j'espere qui vous serez assez content, etant le meilleur ouvrage que j'ai jamais fait in the Selling Way, adieu mon cher Clementi, Les oreilles doivent souvent vous tinter, car je parle constamment de vous a tout le monde, car tout le monde aime qu'on leur parle de leurs connaissances, or vous etes de la connaissance de tout le monde, adieu.

Votre ami,

DUSSEK.

MESSRS LONGMAN, CLEMENTI, & CO., GENTELMEN AND FRIENDS,—

I beg you would do your possible to send to me the two grand instruments immediately, for the two Gentelmen whom I have persuaded to purchase them after they have heard my own, are very impatient about it, and I am afraid if I do not receive a decided Answer from you about it or the connoisement, wich I may Show them, they will be induced to Buy some of their German Instruments as they are pretty well influenced by the Capel Master of this Town who is a tolerable great As in Music and an illnatured Antianglomane, besides I expect it as the means to make my Journey to Bohemia, therefore I hope you will be so good, and make the greatest Speed you can—you will see by the above that I intend to be in London about November Next, when I will be very happy to settle with you what may Balance in our account and to continue faithfull to our agreement.

Believe me,

Gentelmen and Friends,

Yours faithfully,

DUSSEK.

You have no Idea how many proposals I have received from London about my Compositions, some of them will make you Laugh.

[86]

AT THE GENERAL QUARTERS OF THE PRUSSIAN ARMY IN SAXONY, the 4th 8ber 1806.

DEAR SIR,—

I have lately composed three Quartettos for two Violins, Tenor and Violoncello, and confess to you that I think this work above all that I have composed, they are neither in the Stile of Mozart, or Haydn, nor that of Pleyel, they are in the Stile of Dussek and I will hope make some noise in the Musical World—the Price for the Propriety of them in Britain is 60 guineas, wich I think highly moderate considering the scarcity of good new Quartettos—I have particularly chosen you Sir for the publication of this work, because I allways found you very reasonable in the few Business I have had the pleasure to make with you, and as my Contract with Clementi & Co. finishes the 4th November this year, I should be very glad to continue with you the publication of all my Works in futur—These Quartettos are for you a publication so advantagous that I have not the least doubt but you will make the Bargain of them, since there is such a long time that nothing has been published of my composition—I wish them to appear about the middle of January, and to be dedicated to His Royal Highness the Prince Louis of Prussia with whom I am at this moment at the Army against the French—If you wish to write to me, give the letter to the Gentelmen who shall deliver to you the quartettos—I beg You to give my best greetings to Mr. Crassier, Sheener, Tonkinson and all Those that remember me, and believe me,

Your very obedient Servant,

and sincere friend,

DUSSEK,

Privy Secretary to His Royal H^s. the Prince Louis of Prussia.

The above letter is addressed to Mr. Birchal, Music Seller, New Bond Street, London.

[87] Musical Times, September and October 1877.

[88] Here is one, in the 8th Variation—

[Music illustration]

[89] Mendelssohn, too, complained that Dussek was a prodigal.

[90] The one in D minor has often been performed at the Popular Concerts.

[91] 1822-1892.

[92] The original title is: "Sonata per il Cembalo o Fortepiano di F.W. Rust, 1788."

[93] It is curious to note that in the supplement of the Breitkopf & Haertel edition of Beethoven's works there are two little pieces entitled "Lustig und Traurig."

[94] E. Bach published six easy clavier sonatas in 1765, but Neefe probably refers to earlier and more important works.

[95] Besides those mentioned, he published in 1774 six new sonatas, also variations on the theme "Kunz fand einst einen armen Mann."

[96] "As your Royal Highness seemed to be pleased with the sonata in C minor, I thought it would not appear too bold to surprise you with the dedication of it."

[97] The opening theme of that same symphony—

[Music illustration]

recalls, curiously, the last movement of Beethoven's 8th Symphony; and still more so in the form in which he first sketched it—

[Music illustration]

[98] Schindler, by the way, relates in his Biography of Beethoven (3rd ed. 2nd Part, p. 212) that, already in 1816, when there was a proposal made by Hoffmeister to Beethoven to issue a new edition of his pianoforte music, the master conceived the intention of indicating the poetic idea ("Poetische Idee") underlying his various works. And the biographer adds: "This term (i.e. poetic idea) belongs to Beethoven's epoch, and was used by him as frequently as was, for example, the expression 'poetic contents' by others—in opposition to works which only offer an harmonic and rhythmic play of tones. Writers on aesthetics of our day declaim against the latter term; with good reason, if it refer to programme-music; without reason, if they extend their negation to all Beethoven's music, and deny its poetic contents. Whence that tendency, which so frequently manifests itself, and that strong desire to give pictorial explanations, especially of the Beethoven symphonies and sonatas, if they contained nothing but a well-ordered harmonic and rhythmic play of tones, and if they—or, at least, some of them—were not based on some special idea? What other composer creates this almost irresistible desire?"

[99] Mr. E. Pauer, in his preface to Ernst von Elterlein's Beethoven's Pianoforte Sonatas explained for the lovers of the musical art,—a valuable and interesting book,—remarks: "Herr von Elterlein's design is not so much to describe the beauties of Beethoven's sonatas, as to direct the performer's attention to these beauties, and to point out the leading and characteristic features of each separate piece" (the italics are ours).

[100] The Finale of a Sonata in A flat by Cramer, one of three dedicated to Haydn, is said to have suggested to Beethoven the Finale of his Sonata in A flat (Op. 26). Dr. Erich Prieger, who has recently published a facsimile of the autograph of Beethoven's sonata, in his preface quotes some passages from the Cramer Finale, which certainly seem to show that the Bonn master was to some extent influenced by his predecessor. Here is the second of the three passages quoted:—

[Music illustration]

[101] Woelfl's "Ne plus Ultra" Sonata would have long been forgotten but for Dussek's "Plus Ultra." See chapter on "Predecessors of Beethoven."

[102] In Steibelt's two sonatas (Op. 62), for instance, the airs "If a body meet a body," "Jesse Macpharlane," and "La Chrantreuse" [Transcriber's Note: So in original, perhaps should be "Chartreuse"] are introduced. In his Op. 40 we also find "The Caledonian Beauty," "The Maid of Selma," "'Twas within a mile of Edinbro' town," and "Life let us cherish." Woelfl's sonatas (Op. 35, 38) also contain Scotch airs, and his "Ne plus Ultra" has variations on "Life let us cherish."

[103] 1773-1853, court organist at Heldburghausen.

[104] 1766-1826, court organist at Freising.

[105] Notice, in each case, the falling interval in the second and fourth bar.

[106] Verstohlen geht der Mond auf, blau, blau Bluemelein, etc.

[107] The long arpeggio leading up to the first note is omitted.

[108] In the British Museum copy the "XII. Sonate da Chiesa, Opera Quinta" of Bassani are bound up with "Sonate a Tre" by Giacomo Sherard. In plain English, the latter composer was a certain James Sherard, an apothecary by profession. The Bassani sonatas here mentioned were published at Amsterdam. Hawkins tells us that "an ordinary judge, not knowing that they were the work of another, might mistake them for compositions of Corelli." The first violin book has the following entry:—"Mr. Sherard was an apothecary in Crutched Friars about the year 1735, performed well on the violin, was very intimate with Handel and other Masters." This copy, which possibly belonged to Sherard, contains also the following, written apparently by the person into whose hands the book passed:—"Wm. Salter, surgeon and apothecary, Whitechapel High Street." The various sonatas, too, are marked in pencil—some as good; others, very good. The date, 1789, is also given—the year, probably, in which the volumes became the property of W. Salter.

[109] These sonatas were afterwards published at Amsterdam as Corelli's, being marked as his Opera Settima. On the title-page was written "Si crede che Siano State Composte di Arcangelo Corelli avanti le sue altre Opere."

[110] See chapter on Haydn.

[111] She was surely the daughter of Francois Hippolite Barthelemon (son of a Frenchman and of an Irish lady), who was on intimate terms with Haydn, to whom the sonata above mentioned is dedicated.

[112] Samuel Wesley (1766-1837), nephew of the Rev. John Wesley, was a gifted musician, and is specially remembered for his enthusiastic admiration of John Sebastian Bach. The letters which he wrote to Benjamin Jacob on the subject of his favourite author were published by his daughter in 1875. He also, in conjunction with C.F. Horn, published an edition of Bach's "Wohltemperirtes Clavier."

[113] He is described on the title-page as "formerly Composer to several Cathedral Churches in France." Buee's name is neither in Fetis nor the Pougin Supplement.

THE END