Far more in the growing Italian style are the eight sonatas of Domenico Alberti, the amateur thorn in the professional side. Just when they were written is not known. The young man was born in 1717 and died probably in 1740 if not before. None of them has more than two movements. Both are in the same key and the second is usually the livelier of the two, often a minuet. A group of the Italians preferred the sonata in two movements, Francisco Durante (1684-1755), for example, and later Domenico Paradies (1710-92). Later still, some sonatas of Johann Christian Bach, youngest son of Sebastian, who submitted quite to the Italian influence, have but two movements; and the first of Clementi’s sonatas also. Other Italians, like Baldassare Galuppi (1706-85), seem never to have decided upon any definite number, nor any definite order of movements. What is, however, due particularly to the Italian influence is the persistent intrusion of a dance form in the cycle--usually a minuet. We find it in Alberti, in Christian Bach, and especially in the clavecin works of Jean Schobert, a young Silesian, resident in Paris from about 1750 to 1766, one of the most brilliant clavecinists of his day, one of the most charming, and one who brought a very decided influence upon the development of the young Mozart. The Italian tendency was invariably to put at the end of the sonata a movement of which the lightness and gaiety of the contents were to bring refreshment or even relief after the more serious divulgences of the earlier movements,--a rondo or even a dance. To this impulse Haydn and Mozart both yielded, retaining from Emanuel Bach only the standard number of three movements. It must be added here that something is due to Slavic influences in the ultimate general triumph of the objectively gay over the subjectively profound in the last movement or movements of the sonata and the symphony. Not only did Haydn incorporate in the scheme the lively expressive melodies and the crisp rhythms so native to the Slavic peoples among whom he grew to manhood. Earlier than he the Bohemian, Johann Stamitz, had thus enlivened and clarified the symphony, and given it the great impetus to future development which bore so splendidly in Vienna. And Schobert, whom we have but now mentioned, was from a Polish land. What such men brought was essentially of spiritual significance; but in music, as in other arts, the new spirit brings the new form.