re published in London by John
Johnson, and bear the title, "Sonate di gravicembalo dedicate a sua
altezza reale la principessa da Pier Domenico Paradies Napolitano."
The edition bears no date; but the right of printing and selling
granted by George II. bears the date November 28, 1754. A second
edition was published at Amsterdam in 1770. The sonatas are twelve in
number, and consist of only two movements of various character: some
have an Allegro or Presto, followed by a Presto, Allegro, or Gigue;
and sometimes (as in Nos. 9 and 11) the second movement is an Andante.
In other sonatas the first movement is in slow time. These
two-movement sonatas would seem to form an intermediate stage between
Scarlatti and Emanuel Bach. As a matter of fact, however, the latter,
as we have seen, had published clavier sonatas in three movements long
before the appearance of those of Paradies. In some of the movements
in binary form Paradies shows an advance on Scarlatti (see Nos. 1 and
10), for in the second section there is a return, after modulation, to
the principal theme. Some have the theme in the dominant key at the
commencement of that section, others not. Thus we see various stages
represented in these sonatas. The music is delightfully fresh, and,
from a technical point of view, interesting. The influence of
Scarlatti both in letter and spirit is strongly felt. In some of the
movements (_cf._ first movement of No. 8 and of No. 12) there is a
feature which Paradies did not inherit from Scarlatti, _i.e._ the
so-called Alberti bass. Of such a bass Scarlatti gives only slight
hints. Alberti, said to have been its inventor, was a contemporary of
Paradies, and the latter may have learnt the trick from him: there are
many examples of its use. In Alberti, "VIII Sonate Opera Prima,"[72]
the opening Allegro of No. 2 has it in forty-four of the forty-six
bars of which it consists, and, besides, each section is repeated.
That convenient form of accompaniment soon came into vogue. It occurs
frequently in the sonatas and concertos of J.C. Bach and Haydn, but it
is in the works of second-rate composers that one sees the full use,
or rather abuse, made of it. No. 8 of the Paradies sonatas is
particularly attractive, and the second movement forms a not
unpleasant reminiscence of Handel's so-called "Harmonious Blacksmith"
variations.

CHAPTER V

HAYDN AND MOZART

I.--Haydn

This composer, to whom is given the name of "father of the