all these sonatas the increasing use of what is
called the Alberti bass is noticeable.

To show the last link between the suite and the sonata,
reference may be made to the well-known sonata in D major by
Haydn. In this, as in those analyzed above, all the movements
are in the same key. The adagio is a _sarabande_, and the
last movement has the characteristics of the _gigue_. This,
however, is only the starting point with Haydn; later we will
consider the development of this form into what is practically
our modern sonata, which, of course, includes the symphony,
quartet, quintet, concerto, etc.

Our path of study in tracing the development of the sonata from
the suite leads us through a sterile tract of seemingly bare
desert. The compositions referred to are full of fragments,
sometimes fine in themselves, but lying wherever they happened
to fall, their sculptors having no perception of their value
one with another. Disconnected phrases, ideas never completed;
to quote Hamlet, "Words, words!" Later we find Beethoven
and Schubert constructing wonderful temples out of these
same fragments, and shaping these same words into marvellous
tone poems.

The music of the period we have been considering is well
described by Browning in "A Toccata of Galuppi's":

Yes you, like a ghostly cricket,
Creaking where a house was burned:
Dust and ashes, dead and done with,
Venice spent what Venice earned.

XV

THE DEVELOPMENT OF PIANOFORTE MUSIC

Up to the time of Beethoven, music for the pianoforte consisted
mainly of programme music of the purely descriptive order, that
is to say, it was generally imitative of natural or artificial
externals. To be sure, if we go back to the old clavecinists,
and examine the sonatas of Kuhnau, sundry pieces by Couperin,
Rameau, and the Germans, Froberger, C.P.E. Bach and others,
we find the beginnings of that higher order of programme music
which deals directly with the emotions; and not only that,
but which aims at causing the hearer to go beyond the actual
sounds heard, in pursuance of a train of thought primarily
suggested by this music.

To find this art of programme music, as we may call it, brought
to a full flower, we must seek in the mystic utterances
of Robert Schumann. It is wise to keep in mind, however,
that although Schumann's piano music certainly answers to
our definition of the higher programme music, it also marks
the dividing line between em