for in them we find not only
fugal and dance forms, but also hints of sonata-form.

Dr. Parry, in his article on "Sonata" in Sir G. Grove's _Dictionary
of Music and Musicians_, has named the Corrente of Corelli's 5th
Sonata in Op. 4 as offering "nearly a miniature of modern binary
form." The well-known Giga Allegro of the 9th Sonata (Op. 5), and the
Allemanda Allegro of the 10th Concerto in C, also present remarkable
foreshadowings.

Handel, however, furnishes a very striking illustration--

In the six "Sonatas or Trios for two Hoboys with a thorough bass for
the harpsichord," said to have been composed already in 1696, we find
quick movements in binary form. In some, the first section offers both
a first and a second subject, while in the second section, after
modulation, there is a return to the opening theme, though quite at
the close of that section. A brief description of one will make the
form clearer. The second Allegro of No. 4 (in F) has two sections. The
first, which ends in the dominant key (C), contains forty-six bars.
The opening theme begins thus:--

[Music illustration: _a_]

At the twenty-ninth bar, a passage leads to the second theme--

[Music illustration: _b_]

This second theme is, in a measure, evolved from the first. In any
case, it is of subordinate character; and it differs slightly as given
by first or second oboe, whereas the principal theme appears in
exactly the same manner for both instruments.

The second section opens with developments of _b_, and modulation from
C major to D minor; _a_ also is developed, the music passing from the
last-named key back to the opening one. There is a full close in that
key, and then modulation to F. The remaining twenty-two bars give the
first section in condensed form: first and second subjects and
coda.[10]

It would be interesting to trace the influences acting on the youth
Handel at the time when he wrote these sonatas. Most probably they
were Johann Philipp Krieger's[11] sonatas for violins and bass; N.A.
Strungk's sonatas published at Dresden in 1691; and more especially
Agostino Steffani's "Sonate da Camera" for two violins, alto, and
bass, published in 1683. An opera by the last-named, which appeared at
Hanover in 1699, has an "Air de Ballet," which contains the first
notes of "Let the bright Seraphim"; besides, it is known that Handel
culled ideas and "conveyed" notes from works of other composers; also,
that he turned them to the best