inor Sonata, which has proved a
stumbling-block, both on account of its form and its contents. It
would simplify matters if the one could be discussed without the
other; this, however, is not possible.

We have hitherto considered the sonata of three movements as typical,
and from that type Liszt's work differs; yet not "so widely, as on a
first hearing or reading may appear." Thus wrote Mr. C.A. Barry in a
remarkably interesting analysis of the sonata which he prepared some
years back for Mr. Oscar Beringer. He remarks further: "All the
leading characteristics of a sonata in three movements are here fully
maintained within the scope of a single movement, or, to speak more
precisely, an uninterrupted succession of several changes of _tempo_,
thus constituting a more complete organism than can be attained by
three distinct and independent movements."

The idea of passing from one movement to another without break dates
from Emanuel Bach, nay, earlier, from Kuhnau; and Beethoven
occasionally adopted it, and with striking effect. The wretched habit
at concerts of applauding between the movements of a sonata
establishes a break where--at any rate in certain sonatas of
Beethoven--the composer certainly imagined an _uninterrupted_
succession. The second movement of the "Appassionata" breaks off with
an arpeggio chord of diminished seventh, and the Finale starts on the
same chord. Yet surely after the final tonic chord of the opening
Allegro there should be no break, but only a brief pause. A _fermata_
in the middle of a movement does not constitute a break, neither need
it at the end. In Beethoven's sonatas we find many movements,
outwardly independent, yet inwardly connected; those of the D minor
and F minor may be named by way of illustration. The composer,
however, in one or two of his works, revived, to some extent, the plan
adopted in the suites of early times, of evolving various movements
from one theme. Such outward connection may help to strengthen a bond
of union already existing, but it will not establish it. The question,
then, of Liszt's "more complete organism" depends, after all, on the
contents of the music. So, too, when, in addition to uninterrupted
succession, Liszt makes the one theme of the slow introduction the
source whence he derives the principal part of his tone-picture,
everything depends on the quality and latent power of this fertilising
germ. Discussion of form _per se_ is an impossibility. Thi