An interesting link between Kuhnau and E. Bach is Mattheson, who published at Hamburg in 1713 a sonata dedicated to the one who can best play it (_derjenigen Persohn gewidmet, die sie am besten spielen wird_). The work itself not being available, the following description of it by J. Faisst (_Caecilia_, vol. 25, p. 157) may prove interesting:--"It (_i.e._ the sonata) consists of only one movement, which, considering its evidently intentional wealth of technique, might be named a Toccata. But in form this one movement clearly belongs to the sonata order, and, in fact, holds a middle place between the tendencies towards sonata-form (the term taken in the narrower sense of form of one single movement) noticeable in Kuhnau, and the more developed shape which this form has assumed within recent times. We have here three sections. In the opening one, the theme, after its first exposition in the key of G, forms the basis of various passages, and then appears in the key of the dominant, followed again by passages of larger extent and richer contents; finally, in abbreviated form, it reappears in the tonic. The second section commences in the parallel key, E minor, with passages which recall those of the first section, and continues with the theme in the same key; afterwards theme and passages are developed through the keys of A minor, C major, G major, D major and B minor; in the last, in which the theme occurs, there is a full close. As third section the first is taken _Da Capo_." It is evident from a remark made by Mattheson in his _Der volkommene Capellmeister_, which appeared at Hamburg in 1739, that some of the sonatas written during the transition period, between Corelli and E. Bach, are lost, or, at any rate, have not been discovered.[17] Mattheson says: "During the last years successful attempts have been made to write sonatas for the clavier (formerly they were for violins or instruments of that kind); still, up to now, they have not the right form, and are capable of being touched (_i.e._ played) rather than of touching: they aim at the movement of fingers rather than of hearts."[18] A little later than Mattheson (_i.e._ in 1721), Pier Giuseppo Sandoni, husband of the famous vocalist Cuzzoni, published at London "Sonate per il Cembalo," dedicated to the Duchess of Pembroke. No. 1, in D minor, has three movements, an Allemande, Largo, and Giga Presto; they are all short, and in two sections; and, as a rule, the writing is in two parts. No. 2, in F, opens with an Allegro of peculiar form. It has four sections, each of which is repeated; the first (seven bars) modulates to the key of C, closing thus-- [Music illustration]