_a._ Eleven bars, beginning and ending in C minor, and
containing a characteristic theme.

_b._ Eleven bars, beginning in E flat (_i.e._ relative major
of opening key) and closing in G minor (_i.e._ key of minor
dominant). It contains a theme rhythmically allied to the
principal theme. _This section is repeated._

_c._ Nine-and-a-half bars, opening in C minor, and passing
to, and closing in E flat. It contains imitative passages
evolved from the principal theme.

_d._ Exact repetition of first section, only with a close on
the major chord.

The last movement of the 6th Sonata, in B flat, offers a still more
striking resemblance to sonata-form; the various sections are better
balanced; the middle or development section (with its close strettos)
is particularly noticeable; also the recapitulation, which is not
literal, as in the above example. The slow movements--occasionally
very short--follow no particular plan. The fugal element is always
more or less present, but some of the other movements have somewhat of
a suite character; No. 6, indeed, opens with a _Ciaccona_. There is a
certain formality about Kuhnau's music, and, for reasons already
mentioned, he is occasionally monotonous. But there is an independent
spirit running through his sonatas, and a desire to escape from the
trammels of tradition which are quite refreshing. And there is a
nobility in the style and skill in the workmanship which remind us of
the great Bach. There are, indeed, resemblances to Bach, also to
Handel. Scheibe, in his _Critischer Musikus_, mentions Kuhnau, in