three movements, were connected, _i.e._ the one passed to the other
without break.

So much for sonatas in two or three movements. But among the _Oeuvres
mêlées_ there are no less than twenty which have four movements--some
in the old order: slow, fast, slow, fast; others in a new order:
Allegro, Andante or Adagio, Minuet, and Allegro or Presto.[28] Thus
Wagenseil,[29] Houpfeld, J.E. Bach, Hengsberger, and Kehl. Sometimes
(as in Seyfert and Goldberg) the Minuet came immediately after the
Allegro[30] (see Beethoven chapter with regard to position of Minuet
or Scherzo in his sonatas). In a sonata by Schaffrath, the opening
Allegro is followed by a Fugue. Again (in Spitz, Zach, and Fischer)
the following order is found: Allegro, Andante, Allegro, Minuet. In
Fischer all the movements are in one key; only the Trio of the Minuet
is in the tonic minor. In Spitz the Andante is in the under-dominant,
the other movements being in the principal key. In Zach the Andante is
in the minor tonic, and the third movement in the upper-dominant. It
is well to notice that _in none of these four-movement sonatas are the
movements connected_. The same thing is to be observed in Beethoven,
with exception, perhaps, of Op. 110. In the _Oeuvres mêlées_ there is
only one instance of a sonata in _five_ movements by Umstatt. It
consists of an Allegro, Adagio (in the dominant), Fugue Allegro (in
the relative of dominant), a Minuet in the principal key, with Trio in
relative minor; and, finally, a Presto. By way of contrast, we may
recall the two sonatas of Hasse, in one movement, already mentioned,
and also the last of Emanuel Bach's six sonatas of 1760.

The works of many of the composers named in connection with
differences in the number and order of movements are forgotten; and,
in some cases, indeed, their names are not even thought worthy of a