however, more anon.  The counterpoint to the third entry of the subject is evolved from the opening subject of the sonata.  The third movement consists of a fine Adagio in E flat, in the key of the subdominant and in three-four time.  Then follows a short Allegro in three-four time, of polyphonic character.  At the close of the movement Kuhnau has written the opening chords of the first movement with the words Da Capo.  A similar indication is to be found in one of the “Frische Fruechte” Sonatas.  This repetition, also the third movement leading directly to the fourth, and the thematic connection mentioned above, would seem to show that the composer regarded the various sections of his sonata as parts of a whole.

In addition, Kuhnau wrote thirteen sonatas.  The “Frische Clavier Fruechte,” or “Sieben Suonaten von guter Invention u.  Manier auf dem Clavier zu spielen,” were published in 1696, and later editions in 1710 and 1724.  In a quaint preface the composer tells us that in naming his “Fresh Fruits” “sonatas,” he kept in mind all kinds of inventiones and changes (Veraenderungen) by which so-called sonatas are superior to mere partitas.  Already a century before this preface was written, Praetorius had distinguished between two classes of instrumental music:  the one, grave; the other, gay.  The composer has also a word to say about the graces or ornaments, the “sugar which sweetens the fruits.”  In modern reprints of Kuhnau the sugar is sometimes forgotten.[43] These “Frische Fruechte” were followed by six “Bible” Sonatas in 1700.  The former, both as regards form and contents, are remarkable.  Kuhnau was a man of deeper thought and loftier conception than Emanuel Bach, but he was fettered by fugal forms,[44] and was fighting against them much in the same spirit in which Beethoven, a century later, fought against sonata-form, in the most general sense of that term.  Beethoven was not only the more gifted, but he profited by the experiments of his predecessors, and he enjoyed the advantage of a vastly improved technique; Haydn, Mozart, Clementi, and others were the stepping-stones by which he rose to higher things.  Kuhnau’s attempts at sonata writing were bold, often rugged; and his experiments in programme-music, extraordinary.  The latter were soon forgotten, while the clever, clear-formed sonatas of Emanuel Bach served as a gratification to the age in which he lived, and as guides to the composers who followed him.  The “Frische Fruechte,” standing between Corelli and Emanuel Bach, are of interest.  The fugal element is still strong; and we find, not so much the smooth style of Corelli as the vigorous style of Froberger and other composers of North Germany.  In character of subject-matter and in form there is decided advance as compared with the B flat Sonata.  Kuhnau still seems rather limited in figures, and therefore repeats himself;[45] then again his movements do not always show gradation of interest.  Their order and number are, indeed,