No. 2, in B flat, is of similar character and construction.  Both sonatas are old in form, but more modern in their subject-material and style of writing than those dedicated to the King of Prussia.  In the latter there is a solidity not to be found here; in its place we have lightness, almost merriment; they were written, one would almost think, expressly for the amusement of the Duke.  The rapid semi-quaver passages (as in No. 1) and the crossing of hands (as in No. 2) tell in no undecided manner of the influence of Scarlatti.  The exceedingly light and graceful Minuets remind one of the kinship between the composer and Haydn.

In a letter to Forkel, dated 10th February 1775, Bach writes as follows:—­

“Die 2 Sonaten, welche Ihren Beyfall vorzueglich haben, sind die einzigen von dieser Art, die ich je gemacht habe.  Sie gehoeren zu der, aus dem H-moll, die ich Ihnen mitschickte, zu der aus dem B, die Sie nun auch haben, u. zu 2en aus der Hafner-Wuertembergischen Sammlung, u. sind alle 6 anno 1743, im Toeplitzer Bade von mir, der ich damahls sehr gicht-bruechig war, auf einem Claviacord mit der kurzen Octav verfertiget."[66]

It would be interesting to know the two sonatas belonging to this period, “the only ones of the kind that I have ever written.”  In the catalogue of musical remains of E. Bach, published two years after his death, the opening bars are given of a Sonata in B minor (see above letter) written at Toeplitz in 1743—­

[Music illustration]

This, surely, must be the one mentioned in the above letter.

In 1760, Bach published six sonatas with varied repeats (mit veraenderten Reprisen), dedicated to Princess Amelia of Prussia.  In the preface the composer remarks that “nowadays change or repetition is indispensable.”  He complains that some players will not play the notes as written, even the first time; and again, that players, if the changing on repetition is left to them, make alterations unsuitable to the character of the music.  These sonatas are of great historic interest.  This preface, also the evident necessity for additional (inner part) notes at times, especially in the slow movements of E. Bach and other composers of that day, make one feel that, as it now stands, much of Bach’s music is a dead letter.  Here we are face to face with a question which in a kindred matter has given rise to much controversy.  If the music is to produce its proper effect, something must be done.  To that (in the case of Emanuel Bach’s sonatas) all reasonable musicians must agree.  Yet not, perhaps, as to what that something should be.  According to certain authorities, only additions should be made which are strictly in keeping with the spirit of the age in which the music was written.  Some, on the other hand, would bring the music up to date; they think it better to clothe eighteenth-century music in nineteenth-century dress, than to ask musicians with nineteenth-century ears to listen to patched-up