eans of
sequences, imitations, transpositions, and transformations of one sort
and another, employing in this treatment much of the art which fugue
had supplied. All the pieces in this old binary form come to a half
close at the double bar upon the dominant of the principal key, or upon
the relative major if the principal key be minor. After the double bar
the development is taken up in the dominant, or in whatever key the
preceding part had ended in. Later the principal key is resumed and
the work concluded.

Haydn enlarged this form by completing his leading periods generally to
a symmetrical length of eight measures, and by adding a second subject
and a different melodic material for conclusion, both before the double
bar and at the end of the movement.

The style of the Haydn sonata-piece is generally light and pleasing.
Only in a very few cases, and in those for a few measures only, does he
attempt pathos. Thus the principal movement of the Haydn sonata seems
to have been developed from a dance motive, and the carrying out is
generally done in regular period forms--the form being substantially
verse throughout, the meter regular and not capricious. Haydn arrived
at this treatment through his natural fondness for symmetry and order,
and through having had for thirty years to produce a constant
succession of interesting pieces, mainly orchestral, primarily designed
to interest and please his princely patron, the old Prince Esterhazy.
The best symphonies of Haydn were written late in life, after he had
been called to London to conduct some new works of his. The glance
into the outer world, and perhaps the availability of a larger body of
players, gave his ideas a freer scope; and these twelve London
symphonies belong to a higher type than those of his earlier time.

As yet we have not spoken of the lyric melody, which in the Beethoven
sonata forms almost invariably a second subject. This idea appears to
have been due to Mozart, whose second subjects not only are sweet and
song-like melodies, but many of his first ones as well. Thus the
Mozart sonata, while excelling that of Haydn in melodiousness and
sweetness, is almost invariably of less musical interest, the
development of a musical thought being rarely considered. In the few
cases in which Mozart takes a serious mood he succeeds well, notably so
in the famous sonata in C minor, the last one in the volume of his
works. But in general, particularly in t