i.

[18] "Seit einigen Jahren hat man angefangen, Sonaten fuer's Clavier
(da sie sonst nur fuer Violinen u. dgl. gehoeren) mit gutem Beifall zu
setzen; bisher haben sie noch die rechte Gestalt nicht, und wollen
mehr geruehrt werden, als ruehren, das ist, sie zielen mehr auf die
Bewegung der Finger als der Herzen."

[19] The public did not support the undertaking, and the other five
never appeared.

[20] The copy in the British Museum has no violin part, which was
probably unimportant.

[21] Emanuel Bach's predecessor as clavecinist at the Prussian Court.

[22] This name is not in Mendel, Riemann, Grove, nor Brown. Fetis,
however, mentions him as Joseph Umstadt, _maitre de chapelle_ of Count
Bruehl, at Dresden, about the middle of the eighteenth century, and as
composer of _Parthien_, and of six sonatas for the clavecin.

[23] See, however, the early Wuertemberg sonatas.

[24] Examples to be found in Rolle, Muethel, and Joh. Chr. Bach, etc.

[25] Gluck's six sonatas for two violins and a thorough bass,
published by J. Simpson, London (probably about the time when Gluck
was in London, since he is named on title-page "Composer to the
Opera"), have three movements: slow, fast, fast,--the last generally a
Minuet.

[26] E. Bach did some strange things. One of his sonatas (Coll. of
1783, No. 1) has the first movement in G major, the second in G minor,
and the third in E major.

[27] Galuppi, No. 4, first set: Adagio, Spiritoso, Giga Allegro.

[28] Sometimes the last movement was a Tempo di Menuetto, a Polonaise,
or even a Fugue.

[29] Wagenseil's Op. 1, Sonatas with violin accompaniment. No. 4, in
C, has Allegro, Minuetto, Andante, and Allegro assai.

[30] As this experiment of Seyfert and Goldberg, in connection with
Beethoven, is of special interest, we may add that Goldberg has all
the movements in the same key, but Seyfert has both the Trio of the
Minuet, and the Andante in the under-dominant. This occurs in two of
his sonatas; in both, the opening key is major.

[31] There is, however, one curious exception. The first of the two
"Sonates pour le clavecin, qui peuvent se jouer avec l'Accompagnement
de Violon, dediees a Madame Victoire de France, par J.G. Wolfgang
Mozart de Salzbourg, age de sept ans," published at Paris as Op. 1,
has _four_ movements: an Allegro in C (with, by the way, an Alberti
bass from beginning to end, except at the minor chord with organ point
near the close of each section, the pla