The rapid semi-quaver
passages (as in No. 1) and the crossing of hands (as in No. 2) tell in
no undecided manner of the influence of Scarlatti. The exceedingly
light and graceful Minuets remind one of the kinship between the
composer and Haydn.

In a letter to Forkel, dated 10th February 1775, Bach writes as
follows:--

"Die 2 Sonaten, welche Ihren Beyfall vorzueglich haben, sind die
einzigen von dieser Art, die ich je gemacht habe. Sie gehoeren zu der,
aus dem H-moll, die ich Ihnen mitschickte, zu der aus dem B, die Sie
nun auch haben, u. zu 2en aus der Hafner-Wuertembergischen Sammlung, u.
sind alle 6 anno 1743, im Toeplitzer Bade von mir, der ich damahls sehr
gicht-bruechig war, auf einem Claviacord mit der kurzen Octav
verfertiget."[66]

It would be interesting to know the two sonatas belonging to this
period, "the only ones of the kind that I have ever written." In the
catalogue of musical remains of E. Bach, published two years after his
death, the opening bars are given of a Sonata in B minor (see above
letter) written at Toeplitz in 1743--

[Music illustration]

This, surely, must be the one mentioned in the above letter.

In 1760, Bach published six sonatas with varied repeats (_mit
veraenderten Reprisen_), dedicated to Princess Amelia of Prussia. In
the preface the composer remarks that "nowadays change or repetition
is indispensable." He complains that some players will not play the
notes as written, even the first time; and again, that players, if the
changing on repetition is left to them, make alterations unsuitable to
the character of the music. These sonatas are of great historic
interest. This preface, also the evident necessity for additional
(inner part) notes at times, especially in the slow movements of E.
Bach and other composers of that day, make one feel that, as it now
stands, much of Bach's music is a dead letter. Here we are face to
face with a question which in a kindred matter has given rise to much
controversy. If the music is to produce its proper effect, something
must be done. To that (in the case of Emanuel Bach's sonatas) all
reasonable musicians must agree. Yet not, perhaps, as to what that
something should be. According to certain authorities, only additions
should be made which are strictly in keeping with the spirit of the
age in which the music was written. Some, on the other hand, would
bring the music up to date; they think it better to clothe
eighteenth-century music