To the Sonata and the Rondo all older dance and fantasia forms gradually gravitated. The Sonata is the more dramatic, the Rondo the more lyrical. The Rondo, considered as to logical content, is the more organic; but advance and climax are wanting to it. The Sonata on the other hand, is, because of its _reprises_, less intellectual than architectural; but it has the sobriety of greatness. Usually, in thinking of the forms of this musical age, our thoughts dwell on the Sonata--in which form as a rule the first movement was cast. But the Rondo was equally important, and is equally often used in the second or last movement. Purer dance-forms were always in use as intermezzos between the movements. [Illustration: Mary Coswey with the Orphica, a portable clavier, which at the beginning of this century had a certain vogue.] In Philip Emanuel, then, we see a preference for the types of the sonata and the rondo which prepares the way for their sole supremacy. He only needed to proceed eclectically. Not only the French Rondo but the Italian Sonata had led to the _reprise_ form. Philip Emanuel did not advance far beyond these models. A second theme is not universal in his works; and only the modulation of the keys within the first half, to the dominant or relative major, is strongly stamped on them. The Sonata movement with him still admits of all _tempi_. In the third of the “Kenner und Liebhaber” Sonatas the peculiar sonata-form is not on the whole adhered to, but allegretto, andante, cantabile, follow each other in free fashion. On the other hand, in the following piece, the first and the last movements both show the sonata-form; but in the first of the “Württembergers” only the last movement has the stricter sonata-style. The third sonata of Volume II. of the “Kenner und Liebhaber” is actually written in a single movement. On the other hand the second Württemberger begins with a genuine sonata with double subject; and in the Kenner und Liebhaber, Vol. III. No. 2, the type of the modern sonata appears in full development. We see then from these examples that while Philip Emanuel uses the _reprise_ of the first part almost universally, he is yet far removed from the classical model of the sonata. In a word, we shall find in him nothing that is not already to be found in Rameau, Scarlatti, or above all, his great father.