investigation, however, would show that he was only a link, and
certainly not the first one in a long evolution. So, too, with the
sonata. The present volume is, however, specially concerned with the
_clavier_ or pianoforte sonata; and for that we have a convenient
starting-point--the Sonata in B flat of Kuhnau, published in 1695. The
date is easy to remember, for in that same year died England's
greatest musician, Henry Purcell.

Before studying the history of the pianoforte sonata, even in outline,
it is essential that something should be said about the early history
of the _sonata_. That term appears first to have been used in
contradistinction to _cantata_: the one was a piece _sounded_
(_suonata_, from _sonando_) by instruments; the other, one _sung_ by
voices. The form of these early sonatas (as they appear in Giovanni
Gabrieli's works towards the close of the sixteenth century) was
vague; yet, in spite of light imitations, the basis was harmonic,
rather than contrapuntal. They were among the first fruits of the
Renaissance in Italy. But soon there came about a process of
differentiation. Praetorius, in his _Syntagma musicum_, published at
Wolfenbüttel in 1619, distinguishes between the _sonata_ and the
_canzona_. Speaking generally, from the one seems to have come the
sonata proper; from the other, the suite. During the whole of the
eighteenth century there was a continual intercrossing of these two
species; it is no easy matter, therefore, to trace the early stages of
development of each separately.

Marpurg, in his description of various kinds of pieces in his
_Clavierstücke_, published at Berlin in 1762, says: "Sonatas are
pieces in three or four movements, marked merely _Allegro_, _Adagio_,
_Presto_, etc., although in character they may be really an