SCHAFFRATH, Christoph.[21] Six sonates, Op. 2
     (published by Haffner, Nuremberg, 1754).

     MOZART, Leopold.  Three sonatas (Oeuvres melees).

     MUeTHEL, Joh.  Gottfr.  Three sonatas, etc. (Haffner,
     Nuremberg, about 1753); three sonatas (autograph).

     UMSTATT, Joseph.[22] One sonata (Oeuvres melees). 
     Sonata consisting of only a Minuetto, Trio, and Gigue
     (Leipzig collection).  And the two Italians—­

     GALUPPI.  Sonate per cembalo (London); and

     PARADIES, P. Domenico.  Twelve sonate di
     gravicembalo (London).

     GRETRY, Belgian composer (1741-1813), wrote “Six
     sonates pour le clavecin” (1768), to which, unfortunately,
     we have not been able to gain access.

From the two collections, etc., may be gathered many facts of interest.  First, as regards the number and character of movements in a sonata.  Emanuel Bach kept, for the most part, to three:  two fast movements, divided by a slow one.[23] In the second of his Leipzig collections (1780), there are two with only two movements (Nos. 2 and 3; a few bars connecting the two movements of No. 3).  But among other composers there are many examples; in some sonatas, the first movement is a slow one; in others, both movements are quick, in which case the second one is frequently a minuet.[24] All twelve sonatas of Paradies have only two movements.

Of sonatas in three movements, some commence with a slow movement followed by two quick movements.[25] (In one instance, in E. Bach’s sonatas, the 1st Collection, No. 2, in F, we even find two slow movements followed by a quick one, Andante, Larghetto, Allegro assai.) But the greater number had the usual order:—­Allegro or Allegretto, Andante or Adagio, and Allegro or Presto.  Thus Hasse, Nichelmann, Benda, and other composers.  Now in E. Bach’s Wuertemberg sonatas we found all three movements were in the same key, and there are similar cases in Hasse, Fried.  Bach, Joh.  Ernst Bach, etc.; but for the most part, the middle (slow) movement was in some nearly related key; in a sonata commencing in major—­in the relative, or tonic minor, or minor under-dominant; and even (as in a sonata by Adlgasser) in the upper-dominant.  Joh.  C.F.  Bach, in one instance, selected the minor key of the upper-dominant, and there are examples of more remote keys (E.  Bach, Coll. of 1780, No. 1).  With sonatas commencing in minor, the key selected for the middle movement was generally the relative major of the under-dominant, or that of the tonic; sometimes even tonic major.  A very extraordinary example of a remote key is to be met with in Bach’s Collection of 1779, No. 3:  his opening movement is B minor, but his middle one, G minor.[26]

It should be mentioned with regard to sonatas in three movements commencing in a minor key, that the last generally (in works of this period) remains and ends in minor.  In modern sonatas the major is often found, at any rate before the close (see Beethoven, Op. 10, No. 1, etc.).