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