(containing, however, by exception, more than one suite), and so on,
alternately, until the 14th Sonata is reached. Then follows the last
piece in the volume. The superscription, "For one _or_ two
cembali,"[53] leads us to believe that the preceding _Basso continuo_
numbers were intended for one cembalo. It should be stated that
movements in binary form are rare among the sonatas, frequent among
the _Basso continuo_ pieces,--another reason for considering the
latter suites.

The structure of the 3rd Sonata[54] is extremely simple. The first,
probably an Allegro moderato, opens with a bold characteristic phrase,
which is repeated in the second bar by the second cembalo; points of
imitation, in fact, continue throughout the movement. At the seventh
bar there is modulation to the dominant, and at the ninth, to the
subdominant, in which the opening theme recurs. A stately antiphonal
passage leads back to the principal key, and the movement concludes
with a cadence such as we find in many a work of Bach's or Handel's.
The Adagio opens with short phrases for each instrument alternately. A
new subject in the relative major is treated in imitative fashion.
After a return to the opening theme, also an allusion to the second
theme, a new figure is introduced, but the movement soon comes to a
close. This slow movement brings to one's mind "The Lord is a Man of
War," and the major section of the duet, "Thou in Thy Mercy," in
Handel's _Israel in Egypt_. The third movement, in structure, much
resembles the first; the music is broad and vigorous. The closing bars
suggest the stringendo passage and presto bars in the coda of the
Scherzo of the "Choral Symphony." Of course it is disappointing to
have only the bass parts for each instrument. The volume, as we have
already stated, was for the use of Ricordati, and probably the uncle
and nephew performed these sonatas together. Musicians will be able to