tanford, another
prominent composer of our day, was produced at the Popular Concerts
(4th February 1884). It consists of an Adagio leading to an Allegro
moderato. Then follows an Intermezzo in the key of the relative minor.
An Adagio (F major) leads to the Allegro Finale in D flat major. It is
thus noticed in the _Musical Times_ of March 1884:--"Some listeners
have professed to perceive in the work a deliberate intention to
violate the established laws of form, but we confess that to us no
such design is apparent. In matters of detail, Mr. Stanford shows
himself an independent thinker, but in all essentials his newest work
is as classical in outline as could possibly be desired. The opening
Adagio is exceedingly impressive, and the succeeding Allegro moderato
is worked out with splendid mastery of the subject-matter, the general
effect being that of a lofty design carried into execution by a
thoroughly experienced hand. The succeeding Allegro grazioso, a
modified kind of Scherzo, is vigorous, and the final Allegro commodo,
with its excellent first subject, seems scarcely less important than
the first movement."

CHAPTER XI

MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.

Some mention, however brief, must be made of various sonatas written
by other contemporaries of the four composers discussed in the last
chapter. After Beethoven, the only work which, from an evolution point
of view, really claims notice is one by Liszt. All other sonatas are
written on classical lines with more or less of modern colouring. Even
M. Vincent d'Indy, one of the advanced French school of composers, has
written a "Petite Sonate dans la forme classique."

Moscheles, in Germany, and Kalkbrenner, in France: these were once
names of note. Their music is often clever and brilliant, but, to
modern tastes, dry and old-fashioned; much of it, too, is superficial.

Among still more modern works may be named those of Stephen Heller,
Raff, Rubinstein, Bargiel, and Grieg. The sonatas of Heller are
failures, so far as the name sonata means anything. He was not a
composer _de longue haleine_, and his opening and closing movements
are dull and tedious; some of the middle movements--as, for example,
the two middle ones of the Sonata in C major--are, however, charming.
Bargiel's Sonata in C major (Op. 34) is written somewhat in "Heller"
style, but it is stronger, and, consequently, more interesting than
any of that composer's.

Raff and Rubinst