influence (strong inasmuch as Haydn and Mozart belonged
to a school with which J.C. Bach was in sympathy) is reflected in the
English music of the period. John Burton published, in 1766, "Ten
Sonatas for the Harpsichord," which are of interest. Some of the
writing recalls Scarlatti, but there are also many touches of harmony
and melody which tell of later times. The introduction of the Alberti
bass is one clear sign of a post-Scarlatti period. Burton paid a visit
to Germany in 1752, and was, we presume, acquainted with Emanuel
Bach's compositions. We may also name six sonatas by I. Worgan, M.B.,
published in 1769. At the head of No. 5, the composer remarks: "Lest
the consecutive fifths at the beginning of the theme of this movement
should escape the critic, the author here apprizes him of them." They
are as follows:--

[Music illustration]

The critic of those days must have been very dull if he required such
assistance, and his ear very sensitive if offended by such
consecutives as these. Lastly, we may give the name of a lady, Miss
Barthelemon,[111] whose interesting Sonata in G (Op. 3) was dedicated
to Haydn.

In the early part of the nineteenth century, John Field, whose
nocturnes are still played and admired, wrote three sonatas (Op. 1),
and dedicated them to Muzio Clementi, his teacher. No. 1 is in E flat;
No. 2, in A; and No. 3, in C minor. They all consist of only two
movements (No. 1, Allegro and Rondo; No. 2, Allegro and Allegro
Vivace; No. 3, Allegro and Allegretto). In the first two sonatas the
two movements are in the same key; in the last, the first movement is
in C minor, the second, in C major. The Rondo of No. 1 contains
foreshadowings of Chopin. Field's music, generally, is old-fashioned,
and not worth revival; none, indeed, of his sonatas have ever been
played at the Monday Popular Concerts.

Samuel Wesley[112] wrote three sonatas (Op. 3), likewise eight,
dedicated to the Hon. Daynes Barrington, yet we fear that not one of
them would prove acceptable at the present day. One looks in vain for
the name of Wesley in the Popular Concert Catalogue. Cipriani Potter
(1792-1871) deserves a word of mention. Beethoven, writing to Ries, in
London, in 1818, says: "Potter has visited me several times; he seems
to be a good man, and has talent for composition." His Sonata in C
(Op. 1, dedicated to Mrs. Brymer Belcher) consists of three movements:
an Allegro non troppo with a Haydnish theme--

[Music illustra