ced | Closing Theme
| (Plurality of Key) | Coda
| | (Special stress
| | laid on the main
| | tonality. Unity of
| | Key)
__________________________|___________________________|____________________

For actual musical examples it seems best to begin with the works of
Haydn. This exclusion of Philip Emmanuel Bach is not meant to minimize
what we owe him for his preliminary efforts in formulating the
tripartite Sonata structure, with its two themes and its Development
portion. Haydn is on record as saying that it was his study of six
Sonatas of Emmanuel Bach which laid the foundations for his own
instrumental style. But on the whole, the compositions of Emmanuel
Bach are of interest rather from a historical point of view than from
one purely artistic. The object of this book, furthermore, is not to
give a complete account of the evolution[103] of the Sonata-Form; but,
accepting the existence of standard works which employ this form, to
enable the student to gain a more complete appreciation of those
works. P.E. Bach wrote in the so-called "galant style"[104] of the
period which has, for our modern ears, too much embellishment and too
many meaningless, rhapsodic passages. He made a sincere effort to
invent pure instrumental melody, _i.e._, musical expression suited to
various instruments that should be unhampered by the too definite
balance of the dance forms, by polyphonic complexities or by the
conventional artifices of operatic style. But though he wrote
skilfully for his instrument and though his style has a certain quaint
charm, on the whole it is lacking in genuine melodic warmth and
feeling. These qualities alone keep works immortal.[105]

[Footnote 103: Those interested in this development should consult
_The Pianoforte Sonata_ by J.S. Shedlock, and above all, d'Indy's
_Course of Musical Composition_, Part III.]

[Footnote 104: This, according to d'Indy, was so-called because
pleasing to the ladies who played an important part in the elaborate
court ceremonial of that day.]

[Footnote 105: Six of P.E. Bach's Sonatas edited by von Buelow are
readily accessible and some excellent comments upon the most
significant ones may be found in Shedlock (see above).]