perplexing, and not always satisfactory.  The 2nd Sonata, in D, for instance, commences with a fine Allegro, followed first by a short Adagio, commencing in the relative minor, and intermixed with short presto passages, and then by a lively movement in six-eight time.  These three would form an admirable sonata, yet the composer does not end here.  There is still another short Adagio, and a concluding movement; and in spite of some fine passages, these appendages form a decided anti-climax.  Similar instances are to be found in the other sonatas.

Now for a few words concerning their form.  Some of the opening movements (for instance, those of Nos. 1, 2) are practically based on fugue-form, with which, by the way, sonata-form is allied.

The first movement of No. 4, in C minor, is of interest, both in its resemblances to, and differences from, modern sonata-form.  It has four sections:—­

     a. Eleven bars, beginning and ending in C minor, and
     containing a characteristic theme.

b. Eleven bars, beginning in E flat (i.e. relative major of opening key) and closing in G minor (i.e. key of minor dominant).  It contains a theme rhythmically allied to the principal theme. This section is repeated.

     c. Nine-and-a-half bars, opening in C minor, and passing
     to, and closing in E flat.  It contains imitative passages
     evolved from the principal theme.

     d. Exact repetition of first section, only with a close on
     the major chord.

The last movement of the 6th Sonata, in B flat, offers a still more striking resemblance to sonata-form; the various sections are better balanced; the middle or development section (with its close strettos) is particularly noticeable; also the recapitulation, which is not literal, as in the above example.  The slow movements—­occasionally very short—­follow no particular plan.  The fugal element is always more or less present, but some of the other movements have somewhat of a suite character; No. 6, indeed, opens with a Ciaccona.  There is a certain formality about Kuhnau’s music, and, for reasons already mentioned, he is occasionally monotonous.  But there is an independent spirit running through his sonatas, and a desire to escape from the trammels of tradition which are quite refreshing.  And there is a nobility in the style and skill in the workmanship which remind us of the great Bach.  There are, indeed, resemblances to Bach, also to Handel.  Scheibe, in his Critischer Musikus, mentions Kuhnau, in conjunction with Keiser, Telemann, and Handel, as one of the greatest composers of the eighteenth century.  The mention of Kuhnau together with Handel deserves note.  The constant discoveries which are being made of Handel’s indebtedness to other composers suggest the thought that perhaps Kuhnau was also laid under contribution.  No one, we think, can hear the “Bible” Sonatas without coming to the conclusion that Handel was acquainted with the works of his illustrious predecessor.  We will just place side by side three passages from the “Bible” Sonatas of Kuhnau with three from a harpsichord suite of Handel—­