the earliest but one of the master's sonatas--No. 2 (30)--the whole of
the middle section is in the principal key. No. 4 (Op. 14) has all
three movements connected,--a plan, as we have already seen, adopted
by E. Bach in some of his sonatas. The sonata in question is in the
key of A major. The Allegro ends with an arpeggio dominant chord, and
still in the same bar follows the dominant chord of the relative key
of F sharp minor, leading directly to the Adagio; this movement, in
its turn, closes on the dominant chord of A, the key, of course, of
the final movement (Tempo di Minuetto con Variazioni).

In 1780 six sonatas were published by Artaria, and dedicated to the
sisters Franziska and Marianne v. Auenbrugger. They are Nos. 20 (1),
21-24 (10-13), and 7 (14). No. 20 (1) is a bright little work. No. 21
(10) (C sharp minor) opens with an interesting movement.[75] The
sonata ends with a beautiful Menuetto and Trio, in which the composer
comes very near to Beethoven. The middle movement is a Scherzando, and
thereby hangs a little tale. No. 24 (13) commences with the same
theme. When Haydn sent the sonatas to his publisher he called
attention to this resemblance, and, in fact, requested that it should
be mentioned on the inner side of the title-page. And he added: "I
could, of course, have chosen a hundred other ideas in place of this
one; but in order not to run any risk of blame on account of this
intentional trifle (which the critics, and especially my enemies, will
regard in a bad light), I make this _avertissement_. Or please add
some note of a similar kind, otherwise it may prove detrimental to the
sale." No. 22 (11) has an opening Allegro in Haydn's brightest
manner. The short Largo is quaint and expressive; the _ff_ chord of
the Neapolitan sixth is of fine effect. The movement ends on the
dominant chord, and thus leads without break to the lively Presto
Finale. The concluding movement of the next sonata displays a
crispness and vigour which remind one of Haydn's great successor.
Already in connection with these six sonatas have we mentioned
Beethoven. And from this period onwards the kinship between the two
composers becomes more evident. Haydn, however, did not, like
Beethoven, rise steadily higher and higher; great moments came, as it
were, by fits and starts. He wrote in season and out of season; _nulla
dies sine linea_ seems to have been his motto. With Beethoven, a later
work, unless it be one of his few _piec