of the second section there is a return to it, after modulation, in
the principal key. Some of the other sonatas are longer, but No. 1
represents, roughly, the other five as to form and contents. No. 6, in
F, by the way, has only three movements: Vivace, Cantabile, and
Presto.

The "Sonate per Gravicembalo, novamente composte," published by
Giovanni Battista Pescetti in 1739, deserve notice, since they
appeared three years before the six sonatas dedicated by Emanuel Bach
to Frederick the Great. They are nine in number. In style of writing,
order, and character of movements, they bear the stamp of the period
in which they were written. Most of the movements in binary form are
of the intermediate type, _i.e._ they have the principal theme in the
dominant at the beginning of the exposition section, and again, later
on, in the principal key. There is considerable variety in the order
and number of movements. No. 1, for instance, has an Adagio, an
Allegro, and a Menuett with variations. No. 2, in D, has four
movements: Andante, Adagio, Allegro, Giga; the short Adagio is in D
minor. No. 3, in G minor: Presto and A Tempo Giusto (a dignified
fugue). The influence of Handel is strong, also that of Scarlatti.
Bars such as the following--

[Music illustration]

foreshadow, in a curious manner, the _Alberti_ bass.

A great number of clavier sonatas were written about the time during
which Emanuel Bach flourished: his first sonatas appeared in 1742, his
last in 1787. An interesting collection of no less than seventy-two
sonatas (sixty-seven by various composers; five anonymous), issued in