Allegro somewhat in the Corelli style.  An Adagio, often very short, separates this from the final movement, an Allegro in binary form, a Minuet, or a Gigue.  This “Humphries” musical landmark is the only one we have to offer our readers between Purcell and Dr. Arne.  But before proceeding to notice the sonatas of the latter, let us say something, if not of English music, yet of music in England during the first half of the eighteenth century.

Of the influence of Corelli we have already made mention.  That influence was materially strengthened by the two celebrated violinist-composers, Veracini and Geminiani, who came to London in 1714; the former only paid a short visit; the latter made England his home.  Then a greater composer than the two just mentioned had already arrived in London; this was Handel, whose Rinaldo had been produced with wonderful success on the 24th February 1710.  The genius of Handel triumphed over all rivals, whether English or foreign, for well-nigh half a century; and this fact alone explains the decline of English art.  But there was another strong influence which specially affected harpsichord music:  the Lessons of Domenico Scarlatti had made their way throughout Europe.  Thomas Roseingrave, who went to Italy in 1710, became acquainted with the composer, and on his return pleaded the cause of the Italian with an enthusiasm similar to that displayed a century later by Samuel Wesley for Scarlatti’s great contemporary, J.S.  Bach.  Roseingrave edited “Forty-two Suites of Lessons for the Harpsichord” by Scarlatti.  Still another Italian influence may be mentioned.  “On the day,” says Burney in his History of Music, “when Handel’s Coronation Anthem was rehearsed at Westminster Abbey (1727) San Martini’s[110] twelve sonatas were advertised.”  But Handel and Scarlatti make up the history of harpsichord music in England during the first half of the eighteenth century.  Burney expressly states that “the Lessons of the one and the Suites of the other were the only good music for keyed instruments.”

Thomas Augustine Arne (1710-78) is principally known as a writer of operas and incidental music to plays, but he also wrote organ concertos, and sonatas for the harpsichord.  The latter, entitled “VIII.  Sonatas or Lessons for the Harpsichord,” probably appeared somewhere about 1750.  With this double title it is, of course, impossible to regard them as serious sonatas.  No. 8, for instance, consists merely of a Minuet with variations!  No. 1 opens with an Andante in binary form, while two bars of Adagio lead to another Allegro of similar structure.  No. 2 is of a similar kind.  The binary form is of the later type, i.e. there is a return to the principal theme in the second section.  No. 3 opens with a Prelude, and a note states that “in this and other Preludes, which are meant as extempore touches before the Lesson begins, neither the composer nor performer are oblig’d to a Strictness of Tune.”  The pleasing Allegro which follows shows the influence of Scarlatti-Handel.  The sonata concludes with an attractive Minuet and variations.  No. 5, with its graceful Gavotta, and No. 7 might be performed occasionally.  Arne’s sonatas, if not great, contain some neat, melodious writing.