ption of them, laying emphasis
naturally on points connected with the special purpose in view.[70]

In the matter of tonality there are some curiosities. When Beethoven's
1st Symphony appeared, the opening bars of the introduction became
stumbling-stones to the pedagogues of that day. The work was, without
doubt, in the key of C major; yet, instead of opening with the tonic
chord of that key, the composer led up to it through the keys of the
subdominant, relative minor, and dominant. No wonder that such a
proceeding surprised conventional minds, and that the critics warned
Beethoven of the danger of "going his own way." But his predecessor,
Emanuel Bach, had also strayed from the pedagogic path, a narrow one,
yet, in the end, leading to destruction. In the first book (1779), the
5th Sonata (as shown by the whole of the movement, with exception of
the two opening bars) is in the key of F major, yet the first bar is
in C minor (minor key of the dominant) and the second, in D minor
(relative minor of the principal key).

[Music illustration]

There were, no doubt, respecters of tonality also in Emanuel Bach's
day, to whom such free measures must have seemed foolhardy. While
composing this sonata Bach was, apparently, in daring mood. The slow
middle movement in D minor opens with an inversion of the dominant
ninth, and the Finale in F thus--

[Music illustration]

Of the character of the first section of movements in binary form we
have already spoken in the introductory chapter.

In the matter of development, the Bach sonatas are in one respect
particularly striking; the composer seems to have resolutely turned
away from the fugal style, and in so doing probably found himself
somewhat hampered. Like the early Florentine reformers, Bach was
breaking with the past, and with a mightier past than the one on which
the Florentines turned their back; like them, he, too, was occupied
with a new form. Not the music itself of the first operas, but the
spirit which prompted them, is what we now admire; in E. Bach,
too,--especially when viewed in the light of subsequent history,--we
at times take the will for the deed.

We meet with much the same kinds of development as in Scarlatti:
phrases or passages taken bodily from the first section and repeated
on different degrees of the scale, extensions of phrases, and
passage-writing based on some figure from the exposition, etc. The
short development section of the Sonata in G (Co