4 connects first and second movements; and the third is
evidently meant to follow without pause. It must, however be
remembered that the majority of the Leipzig sonatas do not have the
various movements thus connected. It therefore seems to have been an
experiment rather than a settled plan. Examples of the connection of
movements are also to be found in Nichelmann and J.C.F. Bach. The same
thing may be seen in some of Haydn's sonatas (Nos. 18, 22, etc.),
while Beethoven offers a remarkable instance in his sonata, Op. 57.

The 1st Sonata of the 2nd Collection passes from the first to the
second movement (Allegretto, G minor; Larghetto, F sharp minor) in a
curious manner, by enharmonic means. The last bar has--

[Music illustration]

The quotation is in abbreviated form. The second chord would, of
course, be taken at first as dominant minor ninth on G. The 1st Sonata
of the 4th Collection is not striking as music, and certainly not of
sufficient importance to justify serious inquiry into the peculiar
order of keys for the three movements (G, G minor, and E major).

With regard to the number of movements, all except two of the eighteen
sonatas have three; the second and third of the 2nd Collection have
only two.

John Christian Bach, or the "London" Bach, as he was called, dedicated
his fifth work, consisting of six sonatas "Pour le clavecin ou
pianoforte," to Ernst, Duke of Mecklenburg. This cannot have been
before 1759, as that was the year in which the composer came to
London. He describes himself on the title-page as--"Maitre de Musique
de S.M. la Reine d'Angleterre." These sonatas, as we learn from the
dedication, were written for the "amusement" of the Duke. The first,
third, and fourth have each only two movements. They remind us less of
E. Bach than of Haydn's early style. There is some very fresh,
pleasing writing in them. No. 5 has some excellent practising
passages, and perhaps the following--

[Music illustration]

may have suggested to Cramer his first study. The middle movement of
No. 6 is a vigorous double Fugue; the whole sonata is, indeed, one of
the finest of the set.

A Sonata in D, by Wilhelm Friedmann Bach, is commented on by Dr. Parry
in his "Sonata" dictionary article. There is another one in C major, a
fresh and vigorous example of a musician whose powers were never fully
developed.

The sonatas of Pietro Domenico Paradies (_b._ 1710), a contemporary of
E. Bach, are of interest. They we