Thomas Augustine Arne (1710-78) is principally known as a writer of operas and incidental music to plays, but he also wrote organ concertos, and sonatas for the harpsichord. The latter, entitled "VIII. Sonatas or Lessons for the Harpsichord," probably appeared somewhere about 1750. With this double title it is, of course, impossible to regard them as serious sonatas. No. 8, for instance, consists merely of a Minuet with variations! No. 1 opens with an Andante in binary form, while two bars of Adagio lead to another Allegro of similar structure. No. 2 is of a similar kind. The binary form is of the later type, _i.e._ there is a return to the principal theme in the second section. No. 3 opens with a Prelude, and a note states that "in this and other Preludes, which are meant as extempore touches before the Lesson begins, neither the composer nor performer are oblig'd to a Strictness of Tune." The pleasing Allegro which follows shows the influence of Scarlatti-Handel. The sonata concludes with an attractive Minuet and variations. No. 5, with its graceful Gavotta, and No. 7 might be performed occasionally. Arne's sonatas, if not great, contain some neat, melodious writing. The second half of the century still offers poor results so far as national music is concerned. We have spoken of Handel and Scarlatti; but, after them, music in England again fell under foreign rule. In the very year of Handel's death, John Christian Bach arrived in London, which he made his home until his death in 1782. During that period the sonatas of Mozart and Haydn became known; and the two visits of the latter to England in 1791-92 and 1794-95 gave greater lustre to his name, and rendered his style still more popular. And all this foreign influence (strong inasmuch as Haydn and Mozart belonged to a school with which J.C. Bach was in sympathy) is reflected in the English music of the period. John Burton published, in 1766, "Ten Sonatas for the Harpsichord," which are of interest. Some of the writing recalls Scarlatti, but there are also many touches of harmony and melody which tell of later times. The introduction of the Alberti bass is one clear sign of a post-Scarlatti period. Burton paid a visit to Germany in 1752, and was, we presume, acquainted with Emanuel Bach's compositions. We may also name six sonatas by I. Worgan, M.B., published in 1769. At the head of No. 5, the composer remarks: "Lest the consecutive fifths at the beginning of the theme of this movement should escape the critic, the author here apprizes him of them." They are as follows:-- [Music illustration] The critic of those days must have been very dull if he required such assistance, and his ear very sensitive if offended by such consecutives as these. Lastly, we may give the name of a lady, Miss Barthelemon,[111] whose interesting Sonata in G (Op. 3) was dedicated to Haydn.