ions which beset the
early Greek tragedians, in whose primitive plays[88] we find but one
chief actor. The introduction of a second theme can not be attributed
to _any single man_; indeed it resulted from a tendency of the times,
the demand of which was for more homophonic melodies rather than for
an elaborate polyphonic treatment of a single one. Embryonic traces of
a second theme we find in D. Scarlatti (see Supplement No. 40) and in
Sebastian Bach himself.[89] Scarlatti,[90] in fact, was often hovering
close to the Sonata-Form and in the example just cited actually
achieved it. The systematic employment of the second-theme principle,
however, is commonly attributed to Emmanuel Bach (1714-1788), although
an undue amount of praise, by certain German scholars, has been given
his achievements to the exclusion of musicians from other nations who
were working along the same lines. Any fair historical account of the
development of the Sonata-Form should recognize the Italians,
Sammartini and Galuppi; the gifted Belgian Gossec, who exercised such
a marked influence in Paris, and above all, the Bohemian Johann
Stamitz (1717-1757), the leader of the famous Mannheim Orchestra, of
whom we shall speak further when we come to the orchestra as a medium.
In many of Stamitz's Symphonies we find the essential first-movement
structure (_i.e._, tripartite grouping with a clear second theme) and,
as Riemann says in his _Handbuch der Musikgeschichte_, "Their sincere
phraseology, their boldness of conception and the masterly _thematic
development_ give Stamitz's works lasting value. Haydn and Mozart rest
absolutely upon his shoulders."[91]

[Footnote 87: Except in the comparatively rare cases where we have a
Fugue on two subjects.]

[Footnote 88: Illuminating comments on this point will be found in
_Outlines of Musical Form_ from W.H. Hadow's _Studies in Modern Music_
(2nd Series).]

[Footnote 89: See the prelude in D major of the second book of the
_Well-tempered Clavichord_.]

[Footnote 90: For further information consult the first chapter of
J.S. Shedlock's _The Pianoforte Sonata_.]

[Footnote 91: For an extended account of this development see the
second chapter, Vol. II, of _The Art of Music_ (The National Society
of Music, N.Y.). See also Chapter XIX of Pratt's _History of Music_.]

The other marked characteristic of the Sonata-Form is the _second_
part which is known as the Development Section; for, as we shall soon
explain,