have four movements--some
in the old order: slow, fast, slow, fast; others in a new order:
Allegro, Andante or Adagio, Minuet, and Allegro or Presto.[28] Thus
Wagenseil,[29] Houpfeld, J.E. Bach, Hengsberger, and Kehl. Sometimes
(as in Seyfert and Goldberg) the Minuet came immediately after the
Allegro[30] (see Beethoven chapter with regard to position of Minuet
or Scherzo in his sonatas). In a sonata by Schaffrath, the opening
Allegro is followed by a Fugue. Again (in Spitz, Zach, and Fischer)
the following order is found: Allegro, Andante, Allegro, Minuet. In
Fischer all the movements are in one key; only the Trio of the Minuet
is in the tonic minor. In Spitz the Andante is in the under-dominant,
the other movements being in the principal key. In Zach the Andante is
in the minor tonic, and the third movement in the upper-dominant. It
is well to notice that _in none of these four-movement sonatas are the
movements connected_. The same thing is to be observed in Beethoven,
with exception, perhaps, of Op. 110. In the _Oeuvres melees_ there is
only one instance of a sonata in _five_ movements by Umstatt. It
consists of an Allegro, Adagio (in the dominant), Fugue Allegro (in
the relative of dominant), a Minuet in the principal key, with Trio in
relative minor; and, finally, a Presto. By way of contrast, we may
recall the two sonatas of Hasse, in one movement, already mentioned,
and also the last of Emanuel Bach's six sonatas of 1760.

The works of many of the composers named in connection with
differences in the number and order of movements are forgotten; and,
in some cases, indeed, their names are not even thought worthy of a
place in musical dictionaries. Yet these variations are of great
moment in the history of development. And this for a double reason.
First, many of the works must have been known to E. Bach, and yet he
seems to have remained, up to the last, faithful to the three-movement
plan. One or two of his sonatas have only two movements, none,
however, has four. Secondly, the experiment of extending the number to
more than three, practically passed unheeded by Dussek, Clementi,
Mozart,[31] Haydn,[32] and by all the composers of importance until
Beethoven. The last-named commenced with sonatas in four movements;
but, as will be seen in a later chapter, he afterwards became partial
to the scheme of three movements.

Let us now consider, and quite briefly, movements in binary form;
again, in this matter, some