[355] In their republication of the _Geschichte der Klaviermusik_ by Weitzmann (1899), in which the chapter devoted to Handel contains the fullest information of any description of the Clavier works. [356] Influences of Krieger and of Kuhnau, particularly in the Halle period (see Vol. XLVIII, pp. 146, 149); French influences in the Hamburg Period (pp. 166, 170); influences of Pasquini (p. 162); and of Scarlatti (pp. 148, 152), about the time of his Italian visits. The influence of Kuhnau is very marked, and Handel had all his life a well-stocked memory of this music, and particularly of Kuhnau's _Klavier-Uebung_ (1689-1692), and the _Frischen Klavier-Früchte_ (1696), which were then widely known and published in numerous editions. Here is the same limpid style, the same neat soberness of line. Kuhnau's Sarabandes especially are already completely Handelian. It is the same with certain Preludes, certain Gigues, and some of the airs (a trifle popular). [357] For the German influence, see the Suites 1, 4, 5, 8 (four dance movements preceded by an introduction). For the Italian, see the Suites 2, 3, 6, 7, of which the form approximates to the _Sonata da camera_. [358] M. Seiffert adds that none of these elements predominate. I would rather follow the opinion of Chrysander, who notices in this fusion of three national styles a predominant tendency to the Italian, just as Bach inclines most to the French style. [359] One finds there, cycles of variations on Minuets, on Gavottes, especially on Chaconnes and many other Italian forms. The Gigue of the Sixth Suite (in G minor) comes from an air in _Almira_ (1705). One notices also that the Eighth Suite in G major is in the French style (particularly the Gavotte in rondo with five variations). It is necessary to follow this second volume by the third, which contains works of widely different periods: _Fantasia_, _Capriccio_, _Preludio e Allegro_, _Sonata_, published at Amsterdam in 1732, and dating from his youthful period (the Second Suite was inspired by an _Allemande_ of Mattheson): _Lessons composed for the Princess Louisa_ (when aged twelve or thirteen years) about 1736; _Capriccio in G minor_ (about the same date); and _Sonata in C major_ in 1750. Finally, there should be added to these volumes, various clavier works published in Vol. XLVIII of the Complete Edition under the title: _Klaviermusik und Cembalo Bearbeitungen_. There is also a selection of the best arrangements of symphonies and airs from the operas of Handel by Babell (about 1713 or 1714). [360] Mattheson in 1722 quoted the Fugue in E minor as quite a recent work. [361] Handel himself told his friend Bernard Granville so, when he made him a present of Krieger's work: _Anmuthige Clavier-Uebung_, published in 1699.