[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.