Something of the spirit shows itself in the pianoforte sonatas of Friedrich Wilhelm Rust, a composer now little known, whose work deserves study. He died at Dessau, where most of his life had been spent, in 1796, just on the eve of Beethoven’s rise to prominence. Twelve of his sonatas have recently been published in Paris under the supervision of M. Vincent d’Indy. They show a blending of two styles: the German style which he acquired from Emanuel Bach in Berlin, and the Scarlatti style, of which he made a study during two years spent in Italy. Three sonatas, in E minor, in F-sharp minor, and in D major, written near the close of his life, are in two movements, both of which seem welded together in the manner of the later sonatas of Beethoven. The treatment of the pianoforte or harpsichord is modern, particularly in the major section of the Rondo of the sonata in E minor, and in the passage work contrasted with the beautiful first theme of the sonata in F-sharp minor. In a sonata in C major, belonging to this period, a fugue is introduced as an episode in the final rondo. Haydn had already used the fugue as the last movement of the string quartet, Mozart as the last movement of a symphony. Rust, in applying it to the pianoforte sonata, foreshadowed Beethoven.[29] FOOTNOTES: [21] Pietro Locatelli, b. Bergamo, 1693; d. Amsterdam, 1764; famous violinist, pupil of Corelli. His works, _Concerti_, trio sonatas, etc., are important in the development of the sonata form. [22] Antonio Vivaldi, b. Venice, ca. 1680; d. 1743; completed Torelli’s and Albinoni’s work in the creation of the violin concerto. [23] Jean Benjamin de Laborde: _Essai sur la musique ancienne et moderne_, 1780. [24] It seems hardly worth while to add that there are well-known sonatas in which no movement is in the triplex form. _Cf._ the Mozart sonata in A major (K. 331) and the Beethoven sonata in A-flat major, op. 26. [25] It is worthy of note that a sonata in G minor for violin by Tartini was at one time known by the name _Didone abbandonata_. _Cf._ Wasielewski: _Die Violine und ihre Meister_. [26] Opus 43, No. 2. [27] _Op. cit._, Vol. I, p. 65, _et seq._ [28] See Musical Examples (Vol. XIII). [29] The sonatas of Rust as printed by his grandson showed many extraordinary modern features which have since been proved forgeries. The fiery discussions to which they gave rise have been summarized by M. D. Calvocoressi in two articles in the _Musical Times_ (London) for January and February, 1914. CHAPTER IV HAYDN, MOZART, AND BEETHOVEN