eel the
absolute necessity for a new departure. This Adagio is, as it were, a
delicate remembrance, and one not unmixed with sadness, of the
composer's immortal parent.

The light, lively final movements need no description. All the music
of these sonatas is written in two or three parts or voices;
occasionally there are chord passages in which for the moment the
number is increased. We have dwelt somewhat in detail on this work, as
it appears to be little known.

There is a sonata in the key of D major, published in the 3rd
Collection (1763) of Marpurg's _Clavierstuecke_ (p. 10), by E. Bach,
which was written in the same year (1740), but earlier than the
"Frederick" Sonatas. C.H. Bitter remarks that if the year of
composition were not known, it would certainly pass as a much later
work. The first movement reminds one of Beethoven's terse, bold style.
Bitter refers to the freedom with which the thoughts are expressed, to
the melodious character of the Andante, and to the humour of the
Finale. He might also have referred to the style of writing for the
instrument, which suggests a later date.

In 1745 (?) appeared the Wuertemberg Sonatas (so called because they
were dedicated to Bach's pupil, the _Duca di Wirtemberg e Teckh_, as
he is named on the title-page of the original edition). These sonatas
are marked as Opera seconda. They were offered by the composer to the
Duke in recognition of the many favours shown to him "at the time when
I had the honour of giving you lessons in music at Berlin."[65] Of
these sonatas we have only been able to have access to the two
preserved in the British Museum; the others are probably of similar
character.

No. 1, in E flat, opens with an Adagio, followed by an Allegro assai
(E flat), and then by a Menuet alternato and Trio, both in E flat, and
with the former _da capo_. The first and second movements are in old
binary form; the Allegro shows the influence of D. Scarlatti. The
Minuet is fresh and pleasing. It is evident, taking E. Bach himself
as standard, that this is a suite rather than a sonata.

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.