[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.”