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an attractive Adagio, and a dainty and pleasing Rondo pastorale. The
influence of Beethoven and Clementi is great; the individuality of
Potter, small. But the sonata is thoroughly well written, and--at any
rate as an educational piece--the Rondo deserves reprinting.

Sir G.A. Macfarren composed three sonatas for the pianoforte. No. 3,
in G minor, dedicated to Miss Agnes Zimmermann, is a work which
presents several features of interest. In the first long movement (an
Allegro moderato) there is no repeat. The exposition section really
contains three subjects: an opening one in the principal key, a second
in D flat, and a third in the orthodox key of the relative major. The
development section, in which there is some solid counterpoint, is
decidedly clever; much use is made in it of the second subject
mentioned above. The Andante is a movement of simple structure. A
brisk Scherzo, in the making of which Weber and Schumann seem to have
lent a helping hand, leads to a long Finale,--the last, but by no
means the most successful of the four movements. We have just spoken
of influences; Weber may be said to have presided at the birth of the
opening Allegro, and Mendelssohn at that of the Finale. The appearance
in the Finale of the D flat theme from the Allegro deserves note. This
sonata may not be an inspired work, yet it has many excellent
qualities.

Of Sir Sterndale Bennett's two sonatas, the 1st, in F minor (Op. 13,
dedicated to Mendelssohn), commences with a long movement (Moderato
expressivo), in which there are traces of the master to whom it is
dedicated; it is followed by a clever Scherzo and Trio, a melodious
Serenata, and a weak Presto agitato. The first, second, and last
movements are in F minor, the third in F major. Schumann, in a brief
notice of the work, describes it as excellent. The sonata (Op. 46)
entitled "The Maid of Orleans" commences with an Andante pastorale in
A flat, above which are written the following lines from Act iv. Scene
1 of Schiller's play, _Die Jungfrau von Orleans_:--

"Schuldlos trieb ich meine Laemmer
Auf des stillen Berges Hoeh."

"In innocence I led my sheep
Adown the mountain's silent steep."

The movement is graceful and pleasing. Then follows an Allegro
marziale:--

"Den Feldruf hoer ich maechtig zu mir dringen
Das Schlactross steigt, und die Trompeten klingen."

Prologue: Scene 4.

"The clanging trumpets sound, the chargers rear,