The violinists just mentioned were the last great writers of sonatas in Italy.  Emanuel Bach arose during the first half of the eighteenth century, and, henceforth, Germany took the lead; Bach was followed by Haydn, Mozart, and Beethoven.  The influence of the Corelli[9] school was felt in Germany and also in England.  Sonatas were published by Veracini at Dresden in 1721, and by Tartini and Locatelli at Amsterdam before 1740.  Again Veracini was for a time solo violinist to the Elector of Dresden (1720-23); Tartini lived for three years at Prague (1723-26), while Locatelli, during the first half of the eighteenth century, made frequent journeys throughout Germany.  Emanuel Bach, the real founder of the modern pianoforte sonata, must have been influenced by their works.

In a history of the development of the sonata generally, those of Corelli would occupy an important place, for in them we find not only fugal and dance forms, but also hints of sonata-form.

Dr. Parry, in his article on “Sonata” in Sir G. Grove’s Dictionary of Music and Musicians, has named the Corrente of Corelli’s 5th Sonata in Op. 4 as offering “nearly a miniature of modern binary form.”  The well-known Giga Allegro of the 9th Sonata (Op. 5), and the Allemanda Allegro of the 10th Concerto in C, also present remarkable foreshadowings.

Handel, however, furnishes a very striking illustration—­

In the six “Sonatas or Trios for two Hoboys with a thorough bass for the harpsichord,” said to have been composed already in 1696, we find quick movements in binary form.  In some, the first section offers both a first and a second subject, while in the second section, after modulation, there is a return to the opening theme, though quite at the close of that section.  A brief description of one will make the form clearer.  The second Allegro of No. 4 (in F) has two sections.  The first, which ends in the dominant key (C), contains forty-six bars.  The opening theme begins thus:—­

[Music illustration:  a]

At the twenty-ninth bar, a passage leads to the second theme—­

[Music illustration:  b]

This second theme is, in a measure, evolved from the first.  In any case, it is of subordinate character; and it differs slightly as given by first or second oboe, whereas the principal theme appears in exactly the same manner for both instruments.

The second section opens with developments of b, and modulation from C major to D minor; a also is developed, the music passing from the last-named key back to the opening one.  There is a full close in that key, and then modulation to F. The remaining twenty-two bars give the first section in condensed form:  first and second subjects and coda.[10]