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an attractive Adagio, and a dainty and pleasing Rondo pastorale.  The influence of Beethoven and Clementi is great; the individuality of Potter, small.  But the sonata is thoroughly well written, and—­at any rate as an educational piece—­the Rondo deserves reprinting.

Sir G.A.  Macfarren composed three sonatas for the pianoforte.  No. 3, in G minor, dedicated to Miss Agnes Zimmermann, is a work which presents several features of interest.  In the first long movement (an Allegro moderato) there is no repeat.  The exposition section really contains three subjects:  an opening one in the principal key, a second in D flat, and a third in the orthodox key of the relative major.  The development section, in which there is some solid counterpoint, is decidedly clever; much use is made in it of the second subject mentioned above.  The Andante is a movement of simple structure.  A brisk Scherzo, in the making of which Weber and Schumann seem to have lent a helping hand, leads to a long Finale,—­the last, but by no means the most successful of the four movements.  We have just spoken of influences; Weber may be said to have presided at the birth of the opening Allegro, and Mendelssohn at that of the Finale.  The appearance in the Finale of the D flat theme from the Allegro deserves note.  This sonata may not be an inspired work, yet it has many excellent qualities.

Of Sir Sterndale Bennett’s two sonatas, the 1st, in F minor (Op. 13, dedicated to Mendelssohn), commences with a long movement (Moderato expressivo), in which there are traces of the master to whom it is dedicated; it is followed by a clever Scherzo and Trio, a melodious Serenata, and a weak Presto agitato.  The first, second, and last movements are in F minor, the third in F major.  Schumann, in a brief notice of the work, describes it as excellent.  The sonata (Op. 46) entitled “The Maid of Orleans” commences with an Andante pastorale in A flat, above which are written the following lines from Act iv.  Scene 1 of Schiller’s play, Die Jungfrau von Orleans:—­

    “Schuldlos trieb ich meine Laemmer
    Auf des stillen Berges Hoeh.”

    “In innocence I led my sheep
    Adown the mountain’s silent steep.”

The movement is graceful and pleasing.  Then follows an Allegro marziale:—­

    “Den Feldruf hoer ich maechtig zu mir dringen
    Das Schlactross steigt, und die Trompeten klingen.”

    Prologue:  Scene 4.

    “The clanging trumpets sound, the chargers rear,
    And the loud war cry thunders in mine ear.”

Then an “In Prison” section with suitable superscription—­

    “Hoere mich, Gott, in meiner hoechsten Noth,” etc.

    Act v.  Scene 2.

    “Hear me, O God, in mine extremity.”

Lastly, a Finale—­

    “Kurz ist das Schmerz, und ewig ist die Freude.”

    Act v.  Scene 14.