in the key of the subdominant and in three-four time. Then follows a
short Allegro in three-four time, of polyphonic character. At the
close of the movement Kuhnau has written the opening chords of the
first movement with the words _Da Capo_. A similar indication is to be
found in one of the "Frische Früchte" Sonatas. This repetition, also
the third movement leading directly to the fourth, and the thematic
connection mentioned above, would seem to show that the composer
regarded the various sections of his sonata as parts of a whole.

In addition, Kuhnau wrote thirteen sonatas. The "Frische Clavier
Früchte," or "Sieben Suonaten von guter Invention u. Manier auf dem
Clavier zu spielen," were published in 1696, and later editions in
1710 and 1724. In a quaint preface the composer tells us that in
naming his "Fresh Fruits" "sonatas," he kept in mind all kinds of
_inventiones_ and changes (Veränderungen) by which so-called sonatas
are superior to mere partitas. Already a century before this preface
was written, Praetorius had distinguished between two classes of
instrumental music: the one, grave; the other, gay. The composer has
also a word to say about the graces or ornaments, the "sugar which
sweetens the fruits." In modern reprints of Kuhnau the sugar is
sometimes forgotten.[43] These "Frische Früchte" were followed by six
"Bible" Sonatas in 1700. The former, both as regards form and
contents, are remarkable. Kuhnau was a man of deeper thought and
loftier conception than Emanuel Bach, but he was fettered by fugal
forms,[44] and was fighting against them much in the same spirit in
which Beethoven, a century later, fought against sonata-form, in the
most general sense of that term. Beethoven was not only the more
gifted, but he profited by the experiments of his predecessors, and he
enjoyed the advantage of a vastly improved technique; Haydn, Mozart,
Clementi, and others were the stepping-stones by which he rose to