ein both wrote pianoforte sonatas, but these do not
form prominent features in their art-work.

Grieg's one Sonata in E minor (Op. 7) is a charming, clever
composition; yet as it was with Chopin, so is it with this composer:
his smallest works are his greatest.

Of duet sonatas there is little more to do than to mention the
principal ones. In the evolution of the sonata they are of little or
no moment. Some, however, are highly attractive. It would be
interesting to know who wrote the first sonata for four hands, but the
point is not an easy one to settle. Jahn, speaking of Mozart's duets,
remarks that "pianoforte music for two performers was then far from
having attained the popularity which it now possesses, especially
among amateurs." We imagine that the

Sonate
a Quatre mains sur un Clavecin
Compose
par
J.C. Bach
----
a Amsterdam
chez J. Schnitt Marchand de Musique
dans le Warmoes-straat

was one of, if not the earliest. The part for the second clavier is
printed under that of the first. The sonata consists of only two
movements: an Allegro and a Rondo. The general style and treatment of
the two instruments reminds one of Mozart, but the music is crude in
comparison. Here is the commencement of the theme of the first
movement--

[Music illustration]

The duet sonatas of Mozart are full of charm and skill, and will ever
be pleasing to young and old. Dussek has written some delightful
works, and Hummel's Op. 92, in A flat, is certainly one of the best
pieces of music he ever wrote. Schubert's two sonatas (B flat, Op. 30;
C, Op. 140) are very different in character: the one is smooth and
agreeable; the other contains some of the noblest music ever penned by
the composer.

Sonatinas are almost always written for educational purposes. No
description, no analysis of such works, is necessary; only a list of
the best. The "Twelve Sonatinas for the Harpsichord or Pianoforte, for
the use of Scholars" (Op. 12), by James Hook (1746-1827), father of
the well-known humorist, Theodore Hook, deserve honourable mention.
Each number contains only two short movements; they are well written,
and, though old, not dry. Joseph Bottomley, another English composer
(1786-?), also wrote twelve sonatinas for the pianoforte.

Those of Clementi and Dussek seem destined to perennial life. The
former composed twelve (Op. 36, 37, and 38), the latter six (Op. 20);
and then, of course, of higher musical interest are the sonatinas of