[20] The copy in the British Museum has no violin part, which was probably unimportant. [21] Emanuel Bach's predecessor as clavecinist at the Prussian Court. [22] This name is not in Mendel, Riemann, Grove, nor Brown. Fetis, however, mentions him as Joseph Umstadt, _maitre de chapelle_ of Count Bruehl, at Dresden, about the middle of the eighteenth century, and as composer of _Parthien_, and of six sonatas for the clavecin. [23] See, however, the early Wuertemberg sonatas. [24] Examples to be found in Rolle, Muethel, and Joh. Chr. Bach, etc. [25] Gluck's six sonatas for two violins and a thorough bass, published by J. Simpson, London (probably about the time when Gluck was in London, since he is named on title-page "Composer to the Opera"), have three movements: slow, fast, fast,--the last generally a Minuet. [26] E. Bach did some strange things. One of his sonatas (Coll. of 1783, No. 1) has the first movement in G major, the second in G minor, and the third in E major. [27] Galuppi, No. 4, first set: Adagio, Spiritoso, Giga Allegro. [28] Sometimes the last movement was a Tempo di Menuetto, a Polonaise, or even a Fugue. [29] Wagenseil's Op. 1, Sonatas with violin accompaniment. No. 4, in C, has Allegro, Minuetto, Andante, and Allegro assai. [30] As this experiment of Seyfert and Goldberg, in connection with Beethoven, is of special interest, we may add that Goldberg has all the movements in the same key, but Seyfert has both the Trio of the Minuet, and the Andante in the under-dominant. This occurs in two of his sonatas; in both, the opening key is major. [31] There is, however, one curious exception. The first of the two "Sonates pour le clavecin, qui peuvent se jouer avec l'Accompagnement de Violon, dediees a Madame Victoire de France, par J.G. Wolfgang Mozart de Salzbourg, age de sept ans," published at Paris as Op. 1, has _four_ movements: an Allegro in C (with, by the way, an Alberti bass from beginning to end, except at the minor chord with organ point near the close of each section, the place for the extemporised cadenza), an Andante in F (Alberti bass from beginning to end), a first and second Menuet, and an Allegro molto, of course, in C. The brief dedication to Op. 1 is signed:--"Votre tres humble, tres obeissant et tres petit Serviteur, J.G. Wolfgang Mozart." [32] There is one exception: a sonata in G major, one of his earliest. See chapter on Haydn and Mozart. [33] Scheibe; a return for the moment to a practice which was once of usual occurrence. [34] Mention has been made in this chapter of a first section in a minor piece of Scarlatti's ending in the _major_ key of the dominant. [35] In the Sonatas of 1781, for instance, the first movement of No. 2, in F, has a definite second subject, but that is scarcely the case with the first movement of No. 3, in F minor.