As to his melody, it is as delightful as is to be expected from “galant” music, and from that only. At one time it shows a charming sentimentalism, in which the stronger use of retardations has its share, now it is frisky and playful, toying with itself; in both cases anticipating Mozart. Specially characteristic of the author are numerous melodic phrases, the like of which have played an important part down to our own time. Philip Emanuel used them with the greatest depth and penetration in the F sharp minor movement of the A major sonata (No. IV. in Kenner und Liebhaber, vol. i). In all these points he manifests his independence; and in spite of his study of the French, it is but seldom that, as in the “Siciliana” of one of his sonatas in the “Musikalisches Allerley,” we catch an echo of a phrase from Couperin. Like all the “galants,” he wrote much. A considerable number of his works were printed in his own time in the magazines or separately. Among these the sonatas to Frederick the Great to Charles Eugene of Württemberg, to Amalie of Prussia, and the “Kenner und Liebhaber,” take the first place. But yet more remained unprinted. Prosniz has counted four hundred and twenty of his clavier pieces, of which two hundred and fifty were printed. There is no modern comprehensive edition of his works, but the “Kenner und Liebhaber” has been very beautifully reissued by Krebs in the Berlin Academy collection of original editions. Apart from the first volume these are written exclusively for pianoforte. The name of Philip Emanuel generally rises to our lips when we speak of the origins of the modern forms of chamber-music and symphony. This is correct enough if we are content to establish his claims as an agent in the crystallisation of the two main forms of classical composition--the Sonata and the Rondo. But the creator of these forms he was not; he found them very far advanced in France and Italy, and on the other hand he handles them so freely that their regulation cannot be said to have been completed till the days of Haydn and Mozart. Thus he is in these points also but an intermediary. The strict sonata introduces first a main subject, then in an allied key an allied subject; next the middle section[105] in which these subjects are developed and completed; and lastly it repeats the exposition, transposing the subordinate subject, however, with a view to the finale, into the main key. In the Rondo, on the contrary, there is _one_ main theme and many subordinate motives. The main theme is chiefly melodious; the by-themes alternate in all kinds of forms among the repetitions of the melodic strophe.