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This theme reminds one of Bach’s Adagio from the 2nd Organ Concerto—­

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or even Handel’s “Along the Monster Atheist strode."[52] The movements of this second piece are similar in structure and character to those of the first.  Next we have a piece of lighter character in two movements, and, apparently, for one cembalo:  there is, of course, only one bass part (figured).  At the commencement is merely marked Basso continuo.  The following piece is headed 3a Sonata (3rd Sonata).  It is in the key of D minor, and it has three movements, all in the same key.  Now, as all the pieces for two cembali in the volume after this are marked as sonatas, coupled with the fact that before this 3rd Sonata there are two pieces for two cembali, the latter of which is marked 2a (second), we may conclude that these two are also sonatas.  The piece for one cembalo between the 2nd and 3rd Sonatas is, as we have remarked, of lighter character, and was possibly considered a suite.  After the 3rd Sonata comes a fourth, then a Basso continuo (containing, however, by exception, more than one suite), and so on, alternately, until the 14th Sonata is reached.  Then follows the last piece in the volume.  The superscription, “For one or two cembali,"[53] leads us to believe that the preceding Basso continuo numbers were intended for one cembalo.  It should be stated that movements in binary form are rare among the sonatas, frequent among the Basso continuo pieces,—­another reason for considering the latter suites.

The structure of the 3rd Sonata[54] is extremely simple.  The first, probably an Allegro moderato, opens with a bold characteristic phrase, which is repeated in the second bar by the second cembalo; points of imitation, in fact, continue throughout the movement.  At the seventh bar there is modulation to the dominant, and at the ninth, to the subdominant, in which the opening theme recurs.  A stately antiphonal passage leads back to the principal key, and the movement concludes with a cadence such as we find in many a work of Bach’s or Handel’s.  The Adagio opens with short phrases for each instrument alternately.  A new subject in the relative major is treated in imitative fashion.  After a return to the opening theme, also an allusion to the second theme, a new figure is introduced, but the movement soon comes to a close.  This slow movement brings to one’s mind “The Lord is a Man of War,” and the major section of the duet, “Thou in Thy Mercy,” in Handel’s Israel in Egypt.  The third movement, in structure, much resembles the first; the music is broad and vigorous.  The closing bars suggest the stringendo passage and presto bars in the coda of the Scherzo of the “Choral Symphony.”  Of course it is disappointing to have only the bass parts for each instrument.  The volume, as we have already stated, was for the use of Ricordati, and probably