[20] The origin of the title is rather doubtful. On the first page of the manuscript copy, which was in the hands of Christian Bach, of London, were written the words: _Fait pour les anglais_. The first prelude is on a theme by Dieupart, a composer then popular in England. CHAPTER III THE DEVELOPMENT OF THE SONATA FORM Vienna as the home of the sonata; definition of ‘sonata’--Origin and history of the standard sonata cycle; relationship of sonata movements--Evolution of the ‘triplex’ form: Pergolesi’s ‘singing allegro’; the union of aria and binary forms; Padre Martini’s sonatas, Scarlatti’s true sonata in C; Domenico Alberti; the Alberti bass; the transitional period of the sonata--Sonata writers before Haydn and Mozart: J. C. Bach; Muzio Clementi--Schobert and Wagenseil; C. P. E. Bach; F. W. Rust. Turning our backs upon Bach and looking over the musical marches, we shall observe many roads in the second half of the eighteenth century making their way even from the remotest confines towards Vienna. There they converge towards the end of the century. Thither comes pouring music from England, from France, volumes of music from Italy; music from Prussia, from Saxony, from Russia; from all the provinces, from Poland, from Bohemia and from Croatia. There is a hodge-podge and a _pêle-mêle_ of music, of types and nationalities. There are the pompous oratorios from the west, light operas and tuneful trios and sonatas from the south, dry-as-dust fugues from the north, folk-songs gay and sad from the east. All whirling and churning before Maria Theresa, or her lovable son, or the intelligent courtiers about them. France will grow sick before the Revolution, Italy will become frivolous, Germany cold. Only Vienna loves music better than life. Presently up will come Haydn from Croatia, and Mozart from Salzburg, and Beethoven from Bonn. Then young Schubert will sing a swan-song at the feast from which the honored guests have one by one departed; and waltzes will whirl in to gobble up all save what fat Rossini can grab for himself. And what is the pianoforte’s share in this profusion of music? Something of all, variations, pot-pourris from the operas, rondos and bagatelles and waltzes; but chiefly sonatas, and again sonatas.