pecial illustration.

There are many resemblances to E. Bach in Haydn,--notes wide apart,
pause bars, surprise modulations, etc.,--and this is not more
extraordinary than to find resemblances between Mozart and Beethoven;
but the charge of caricature seems unfair. Besides, it is scarcely
likely that Haydn, who owed so much to Bach, would have done any such
thing. It must be remembered that at the date of the _European
Magazine_ in question, E. Bach had not yet published any of the six
Leipzig Collections ("Sonaten fuer Kenner," etc.), by which he is best
known at the present day.

Of the six sonatas, Op. 13, the first three are Nos. 8 (26), 9 (27),
10 (28) in Pohl's thematic catalogue (_Joseph Haydn_, vol. ii.). The
other three have not been reprinted in modern collections. In the
first three the keys and order of movements are as follow:--

No. 1. Allegro moderato in C; Adagio, F; Finale, Presto.

No. 2. Allegro moderato in E; Andante, E minor; Finale,
Tempo di Menuetto.

No. 3. Allegro moderato in F; Larghetto, E minor; Presto.

These sonatas are interesting as music, and the workmanship is
skilful. If one can get over the thinness of the part-writing,
especially in the slow movements, there is much to enjoy in them. The
style of movement--Tempo di Menuetto--in No. 2 recalls Emanuel Bach's
"Wuertemberg" sonatas of 1745.

Here are the numbers of the sonatas of Op. 14: 11 (20), 12 (21), 13
(22), 14 (23), 15 (24), 16 (25). And here are the keys and movements--

No. 1. Allegro con brio in G; Minuetto, G; Trio, G minor;
Presto.

No. 2. Allegro moderato in E flat; Minuetto, E flat; Trio, E
flat minor; Presto.

No. 3. Moderato in F; Adagio, B flat; Tempo di Menuetto.

No. 4. Allegro in A; Adagio; Tempo di Minuetto con
Variazione.

No. 5. Moderato in E; Presto.

No. 6. Allegro moderato in B minor; Tempo di Minuetto;
Presto.

During the eighteenth century, both in Italy and Germany, sonatas in
two movements were common, but with Haydn the reduction in No. 5
probably was made on practical, and not artistic grounds. Schindler
once asked Beethoven why he had only two movements to his Sonata in C
minor (Op. 111), and the master replied--probably with a twinkle in
his eye--that he had not had time for a third.

If these sonatas of 1776 be compared with earlier ones (1767), an
immense improvement in the development sections will be observed. In