Baldassare Galuppi, born in 1706 on the island of Burano, near Venice, was a pupil of Lotti’s.  Two sets of six “Sonate per il cembalo” of his were published in London.  We cannot give the date, but may state that a sonata of his in manuscript bears the date 1754 (whether of copy or composition is uncertain; anyhow, the year given acts as limit).  The variety in the number of the movements of the published sonatas (one has four, some have three, some two, while No. 2 of the first set has only one) points to a period of transition.  This alone, apart from the freshness and charm of the music, entitles them to notice.  Much of the writing is thin (only two parts), and, technically, the music far less interesting than the Scarlatti pieces.  Some of the phrases and figures, and the occasional employment of the Alberti bass, tell, however, of the new era soon about to be inaugurated by Haydn.  There is one little feature in the 1st Sonata of the first set which may be mentioned.  In the second section of the Adagio (a movement in binary form) of that sonata, the theme appears, as usual then, at the beginning of the second section, and, later on, reappears in the principal key, but it starts on the fourth, instead of the eighth quaver of the bar.

There was great variety in the order of movements.  Sometimes a slow movement was followed by two quick movements;[27] and the third movement was frequently a minuet.  The quick movement sometimes came in the middle (Galuppi, Sonata in B flat), sometimes at the beginning (E.  Bach, Coll. 1781, No. 3), sometimes at the end (E.  Bach, Coll. 1779, No. 2).  Then, again, sometimes all, but frequently two of the three movements, were connected, i.e. the one passed to the other without break.

So much for sonatas in two or three movements.  But among the Oeuvres melees there are no less than twenty which have four movements—­some in the old order:  slow, fast, slow, fast; others in a new order:  Allegro, Andante or Adagio, Minuet, and Allegro or Presto.[28] Thus Wagenseil,[29] Houpfeld, J.E.  Bach, Hengsberger, and Kehl.  Sometimes (as in Seyfert and Goldberg) the Minuet came immediately after the Allegro[30] (see Beethoven chapter with regard to position of Minuet or Scherzo in his sonatas).  In a sonata by Schaffrath, the opening Allegro is followed by a Fugue.  Again (in Spitz, Zach, and Fischer) the following order is found:  Allegro, Andante, Allegro, Minuet.  In Fischer all the movements are in one key; only the Trio of the Minuet is in the tonic minor.  In Spitz the Andante is in the under-dominant, the other movements being in the principal key.  In Zach the Andante is in the minor tonic, and the third movement in the upper-dominant.  It is well to notice that in none of these four-movement sonatas are the movements connected.  The same thing is to be observed in Beethoven, with exception, perhaps, of Op. 110.  In the Oeuvres melees there is only one instance of a sonata in five movements by Umstatt.  It consists of an Allegro, Adagio (in the dominant), Fugue Allegro (in the relative of dominant), a Minuet in the principal key, with Trio in relative minor; and, finally, a Presto.  By way of contrast, we may recall the two sonatas of Hasse, in one movement, already mentioned, and also the last of Emanuel Bach’s six sonatas of 1760.