theme appears as the commencement of a recapitulation. We should like
to say that _binary_ is changing into _ternary_ form; unfortunately,
however, the latter term is used for a different kind of movement. To
speak of a movement in sonata-form, containing three sections
(exposition, development, and recapitulation) as in binary form, seems
a decided misnomer.

The violinists just mentioned were the last great writers of sonatas
in Italy. Emanuel Bach arose during the first half of the eighteenth
century, and, henceforth, Germany took the lead; Bach was followed by
Haydn, Mozart, and Beethoven. The influence of the Corelli[9] school
was felt in Germany and also in England. Sonatas were published by
Veracini at Dresden in 1721, and by Tartini and Locatelli at Amsterdam
before 1740. Again Veracini was for a time solo violinist to the
Elector of Dresden (1720-23); Tartini lived for three years at Prague
(1723-26), while Locatelli, during the first half of the eighteenth
century, made frequent journeys throughout Germany. Emanuel Bach, the
real founder of the modern pianoforte sonata, must have been
influenced by their works.

In a history of the development of the sonata generally, those of
Corelli would occupy an important place, for in them we find not only
fugal and dance forms, but also hints of sonata-form.

Dr. Parry, in his article on "Sonata" in Sir G. Grove's _Dictionary
of Music and Musicians_, has named the Corrente of Corelli's 5th
Sonata in Op. 4 as offering "nearly a miniature of modern binary
form." The well-known Giga Allegro of the 9th Sonata (Op. 5), and the
Allemanda Allegro of the 10th Concerto in C, also present remarkable
foreshadowings.