rm, as regards grouping of movements; the unity
of character and feeling between Fantasia and Sonata no doubt led to
their juxtaposition. The Fantasia is practically complete in itself;
so too is the Sonata. The two are printed separately in Breitkopf &
Haertel's edition of Mozart's works.

Haydn and Mozart represent an important stage in sonata history: they
stand midway between Emanuel Bach and Beethoven. It is usual to look
upon Bach as the founder, Haydn and Mozart as the builders-up, and
Beethoven as the perfecter of the sonata edifice. Such a summing-up is
useful in that it points to important landmarks in the evolution of
the sonata; yet it is only a rough-and-ready one. Bach was something
more than a founder, while Beethoven, to say the least, shook the
foundations of the edifice. Haydn and Mozart would seem to be fairly
described, for traces of scaffolding are all too evident in their
works, yet they found the building already raised. Some of it,
however, appeared to them in rococo style, and so they gradually
rebuilt. And they not only altered, but enlarged and strengthened. Of
rebuilding and alteration, their slow movements and finales give
evidence; and of enlargement, all the three sections of movements in
so-called sonata-form. Their subject-matter, as it grew in importance,
grew in compass. This in itself, of course, enlarged the exposition
section; but the transition passage from first to second theme, and
the rounding-off of the section, both grew in proportion. The joints,
too, of the structure were strengthened: the half cadence no longer
sufficed to divide first from second subject, or, after development,
to return to the principal theme; then, again, the wider scope of the
development itself demanded more striking harmonies, more forcible
figuration, and more varied cadences.

The subject-matter, we have said, became more important; it differed
also in character. The themes of Emanuel Bach, for the most part, seem
to be evolved from harmonic progressions and groupings of notes; those
of his successors, rather the source whence springs melody and
figuration. The one uttered broken phrases; the others, complete
musical sentences. Italian fashion prevailed during the second half
of the eighteenth century much as it did in the first. The simple
charm and warmth of the music of the violin-composers had penetrated
the contrapuntal crust which covered Emanuel Bach's heart; and the
feeling that he could n