It is instructive to compare the less formal methods of approaching
the new key in E. Bach and his contemporary Paradies; with them it was
generally by means of a half-close. It must be remembered that E. Bach
frequently has a movement quite on Scarlatti lines, _i.e._ without a
definite second subject;[35] also that the second subject in Bach's
time was, as a rule, of secondary importance. But, curiously, in the
Finale of a sonata written by Leopold Mozart (father of the great
genius), after a half cadence on the dominant of the dominant, _tempo_
and measure change (from Presto two-four, to Andante three-four, the
latter remaining until the end of the first section), and the same
occurs in the recapitulation section; by this means the second theme
was made specially prominent. In a sonata of Scarlatti's, in D,
commencing

[Music illustration]

there is a definite second subject in, by the way, the minor key of
the dominant, and it is divided from the first by two bars in common
time (a descending scale and a shake on a semibreve). And then again,
in No. 12 of the "Libro de XII. Sonatas Modernas para Clavicordio,"
the second subject is divided from the first by two bars of common
time (the piece is in Scarlatti's favourite measure, three-eight), an
ascending scale and a shake. There are clear examples of a second
subject, besides E. Bach, in Eberlin, Fleischer, J.C. Bach, and J.C.F.
Bach. Yet even in Haydn's sonatas one cannot always speak of a second
subject. The further history of the development of the contents of the
second half of the first section shows, as it were, a struggle between
two ideals. One was _kinship_, _i.e._ the endeavour to present the
secondary matter in strong relationship to the opening one (the