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ree periods into which that master's art-work is usually divided. There is good reason for this difference. Haydn's sonatas are not of equal importance with those of his successor; and then some are old-fashioned, others second-rate. Beethoven's sonatas are by no means all of equal merit, yet there is not one but has some feature, whether of form, or development, or technique, by which it may be distinguished. And yet a close and careful study of Haydn's sonatas will show that he, too, had his periods of apprenticeship, mastery, and maturity. Let not our readers take alarm. We are not going to analyse his thirty-five sonatas, or to enter into minute details. But we shall try, by selecting some of the most characteristic works, to show how the master commenced, continued, and concluded. The earliest of the published sonatas,[73] No. 1 (33), is somewhat of a curiosity. It consists of four movements: an Allegro in G major; a Minuetto and Trio, G major and minor; an Adagio in G minor; and an Allegro molto in G major. It is the only sonata of Haydn's which contains four movements. The plaintive Trio and the Scarlatti-like Finale are attractive. In the year 1774, J.J. Hummel, at Amsterdam, published six sonatas, the last three of which appear to have been originally written for pianoforte and violin;[74] and in 1776 six more were printed by Longman & Broderip as Op. 14. These may serve as specimens of Haydn's early style; and in them, by the way, the composer was accused of imitating, nay, caricaturing, E. Bach. In the _European Magazine_ for October 1784 there appeared an account of Joseph Haydn, "a celebrated composer of music," in which occurs the following:-- "Amongst the number of professors who wrote against our rising author was Philipp Emanuel Bach of Hamburgh (formerly of Berlin); and the only notice Haydn took of their scurrility and abuse was to publish lessons written in imitation of the several styles of his enemies, in which their peculiarities were so closely copied, and their extraneous passages (particularly those of Bach of Hamburgh) so inimitably burlesqued, that they all felt the poignancy of his musical wit, confessed its truth, and were silent." Further on the writer mentions the sonatas of Ops. 13 and 14 as "expressly composed in order to ridicule Bach of Hamburgh"; nay, he points to the second part of the second sonata in Op. 13 and the whole of the third sonata in the same work by way of s
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