Vitali G.B. 7, 223. Vogler, Abbe, 195, 196. WAGENSEIL G. 31 and (note), 174; _Sonatas_: 27. Weber C.M. v. 192; _Sonatas_: 194-8. Weber M.M. v. 194. Weitzmann C.F. _Geschichte des Clavierspiels_, 74, Pasquini, 75. Wesley S. 226; _Sonatas_: 229-30. Woelfl J. 174, 192; _Ne Plus Ultra_ Sonata: 149-50, 193 (note); Beethoven, 194. Worgan I. _Sonatas_: 228. ZACH, 31, 32. Zimmermann Miss A. 230. MORRISON AND GIBB, PRINTERS, EDINBURGH FOOTNOTES: [1] _Musikalisches Lexicon oder musikalische Bibliothek._ [2] Among the four-movement sonatas of Op. 1, No. 6 (in B minor) has the peculiar order: Grave, Largo, Adagio, Allegro. [3] The Preludio Adagio only consists of four chords, or two bars; the Adagio, again, only consists of four bars. The sonata, therefore, may be considered as of three movements. [4] 1680-1762. [5] 1693-1764. [6] 1685-1750 (Veracini is regarded as of the Corelli school, yet it should not be forgotten that his uncle, Antonio Veracini, is said to have published "Sonate a tre, due violini e violone, o arciliuto col basso continuo per l'organo" at Florence, already in 1662). [7] 1692-1770. [8] It is important to distinguish between _sonata_ and _sonata-form_. The first movement of a modern sonata is usually in sonata-form; but there are sonatas (Beethoven, Op. 26, etc.) which contain no such movement. Sonata-form, as will be shown later on, has been evolved from old binary form. By _sonata_ is understood merely a group of movements; hence objection may certainly be taken to the term as applied to the one-movement pieces of Dom. Scarlatti, which are not even in sonata-form. [9] It must be remembered that Corelli spent some time in Germany between 1680 and 1683, the latter being the year of publication of his first sonatas at Rome. [10] In J.S. Bach's 2nd Sonata for Flauto traverso and Cembalo (third movement) there is a return to the opening theme in the second section; also in the Presto of the sonata for two violins and figured bass we have an example very similar to the "Hoboy" sonata of Handel. [11] Krieger, by the way, studied under Bernardo Pasquini at Rome. [12] Cf. Corelli: Corrente in 10th Sonata of Op. 2; also Allemande and Giga of the next sonata. [13] Cf. Scarlatti: No. 10 of the sixty sonatas published by Breitkopf & Haertel. [14] When there is clearly a second subject, that of course offers the point of return. (See Nos. 24 and 39.) [15] See V. Schoelcher's _Life of Handel_, p. 23. [16] See, however, chapter on the predecessors of Beethoven. [17] See ch. iii. on Pasquini. [18] "Seit einigen Jahren hat man angefangen, Sonaten fuer's Clavier (da sie sonst nur fuer Violinen u. dgl. gehoeren) mit gutem Beifall zu setzen; bisher haben sie noch die rechte Gestalt nicht, und wollen mehr geruehrt werden, als ruehren, das ist, sie zielen mehr auf die Bewegung der Finger als der Herzen." [19] The public did not support the undertaking, and the other five never appeared.