Both Schobert in Paris and Wagenseil in Vienna are more than straws which show the way the wind blew through the classical sonata. They are streaks in the wind itself. On the one came the seeds of the new works in Mannheim to the clavecins in Paris; and on the other such seeds were blown to harpsichords in Vienna. Both men wrote great quantities of music for the harpsichord, but oftenest with a part for violin added. This part was, however, usually _ad libitum_. Concerning Schobert we may quote once more from the ‘Life of Mozart’ by Messrs. de Wyzewa and de Saint-Foix. ‘From 1763 up to the general upheaval caused by the Revolution, he was the most played and the most loved of all the composers of French sonatas. * * * Outside France, moreover, his works were equally highly prized; we find testimony to it in every sort of German, English and Italian treatise on the history or on the _esthétique_ of the piano.’ Concerning Wagenseil we may recall the anecdote of little Mozart who one evening, on the occasion of his first visit to Vienna, refused to play unless Wagenseil, the greatest of players and composers for harpsichord in Vienna, were present. Dr. Burney visited him some years later and heard him play, old and ailing, with great fire and majesty. Schobert was, as we have said, of Silesian origin. He came to Paris as a young man, probably by way of Mannheim, some time between 1755 and 1760; and from then on to the time of his death in 1767 adapted his music more and more to the French taste. Hence we find in it a simple but strong expression, an elegant clearness and a touch of that _sensibilité larmoyante_ made fashionable by Rousseau, showing itself in the frequent use of minor keys, evidently at the root of the very personal emotional life of his music.[27] Mozart came very strongly under his influence. Wagenseil, on the other hand, shows yet more of the Italian influence, so strong even at that day in Vienna, to which Haydn was to owe much. His work lacks emotion and poetry, is facile and brilliant and clear, without much personal color. In the matter of emotional warmth the sonatas of Emanuel Bach, however vague they may be in form by contrast with those of Schobert and his brother Christian, are distinguished above those of his contemporaries. Emanuel--his full name was Carl Philipp Emanuel--was born in Weimar in March, 1714. An early intent to devote himself to the practice of law was given up because of his marked aptitude for music. In 1740 he entered the service of Frederick the Great as court cembalist. In 1757 he gave up this post and went to Hamburg, where he worked as organist, teacher, and composer until his death there on the fourteenth of December, 1788.