es d'occasion_, means a fuller
revelation of his genius.

We will now pass on to the latest period, represented by two great
sonatas, both in the key of E flat. The one was written for the
composer's friend and patron, Frau v. Genziger. The opening Allegro
shows earnest, deep feeling, while at the close of the recapitulation
Haydn makes us feel the full power of his genius; the passage
irresistibly recalls moments in the first movement of the
"Appassionata"; those stately reiterated chords, those solemn pauses,
have a touch of mystery about them. It is interesting to see how the
second theme is evolved from the principal subject of the movement; by
a slight modification the character of the music is quite changed;
what was stately is now light and graceful. The Adagio cantabile is
one of the purest examples of a style of music which has become a
thing of the past. The full and sustained tone of modern instruments
has rendered unnecessary those turns, arpeggios, and numerous
ornaments with which the composers of the last century tried to make
amends for the fleeting tones of their harpsichords and clavichords.
Haydn and Mozart were skilful in this art of embellishment, though
sometimes it was unduly profuse; this Adagio of Haydn's is a model of
sobriety. The bold minor section, which Frau v. Genziger, by the way,
found rather troublesome to play, offers an effective contrast to the
major. A graceful Tempo di Menuetto brings the work to an effective
close. The other Sonata in E flat[76] is much more difficult to play.
The writing is fuller, and it contains passages which even a modern
pianist need not disdain. It is really strange that the sonata is not
sometimes heard at the Popular Concerts. In the opening Allegro the
exposition section contains more than the two orthodox themes, and the
development section assumes considerable magnitude; the latter is
full of clever details and bold modulations. The key of the Adagio is
E major, but this is of course the enharmonic equivalent of F flat.
Brahms, in his last Sonata for Violoncello and Pianoforte in F, has
the slow movement in F sharp. This has been spoken of as a novelty,
yet Haydn, as we see, had already made the experiment; and similar
instances may be found in Schubert and Beethoven, though not in their
pianoforte sonatas. The Finale Presto reminds one by the style of
writing, and by a certain quaint humour, of Emanuel Bach; but there
are some bold touches--_sforzand