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]

The second section (also consisting of seven bars) soon modulates to D
minor, closing in that key in a manner similar to the first. The third
section (ten bars) consists of modulation and slight development, and
closes in A minor. The fourth section (fifteen bars) passes by means
of broken chords (in imitation of the last bar of the previous
section) through various keys, ending in the same fashion as the first
section, only, by way probably of intensification at the end, there
are seven instead of four quaver chords; the section, of course, ends
in F. This movement in the matter of form offers an interesting link
between Kuhnau and E. Bach. The second movement is a minuet, with
variations; it certainly has a beginning, but seems endless. The 3rd
Sonata, in A, resembles No. 1 in form, also in grouping of movements.

And in addition to the sonata of Mattheson, the Sei Sonatine per
Violino e Cembalo, di Georgio Philippo Telemann, published at
Amsterdam in 1721, will give us an approximate idea of the clavier
sonata between Kuhnau and Emanuel Bach. Each number, by the way, is
headed--title-page notwithstanding--a sonata. No. 1, in A major,
consists of four movements, Adagio, Allegro, Largo, Allegro, and all
the four are in binary form. The second is naturally the most
important; the others are very short and simple. In this Allegro,
besides the allusion in the dominant key to the theme at the opening