e
cause of the Italian with an enthusiasm similar to that displayed a
century later by Samuel Wesley for Scarlatti's great contemporary,
J.S. Bach. Roseingrave edited "Forty-two Suites of Lessons for the
Harpsichord" by Scarlatti. Still another Italian influence may be
mentioned. "On the day," says Burney in his _History of Music_, "when
Handel's Coronation Anthem was rehearsed at Westminster Abbey (1727)
San Martini's[110] twelve sonatas were advertised." But Handel and
Scarlatti make up the history of harpsichord music in England during
the first half of the eighteenth century. Burney expressly states that
"the Lessons of the one and the Suites of the other were the only good
music for keyed instruments."

Thomas Augustine Arne (1710-78) is principally known as a writer of
operas and incidental music to plays, but he also wrote organ
concertos, and sonatas for the harpsichord. The latter, entitled
"VIII. Sonatas or Lessons for the Harpsichord," probably appeared
somewhere about 1750. With this double title it is, of course,
impossible to regard them as serious sonatas. No. 8, for instance,
consists merely of a Minuet with variations! No. 1 opens with an
Andante in binary form, while two bars of Adagio lead to another
Allegro of similar structure. No. 2 is of a similar kind. The binary
form is of the later type, _i.e._ there is a return to the principal
theme in the second section. No. 3 opens with a Prelude, and a note
states that "in this and other Preludes, which are meant as extempore
touches before the Lesson begins, neither the composer nor performer
are oblig'd to a Strictness of Tune." The pleasing Allegro which
follows shows the influence of Scarlatti-Handel. The sonata concludes
with an attractive Minuet and variations. No. 5, with its graceful
Gavotta, and No. 7 might be performed occasionally. Arne's sonatas, if
not great, contain some neat, melodious writing.

The second half of the century still offers poor results so far as
national music is concerned. We have spoken of Handel and Scarlatti;
but, after them, music in England again fell under foreign rule. In
the very year of Handel's death, John Christian Bach arrived in
London, which he made his home until his death in 1782. During that
period the sonatas of Mozart and Haydn became known; and the two
visits of the latter to England in 1791-92 and 1794-95 gave greater
lustre to his name, and rendered his style still more popular. And all
this foreign