[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.