194.

Weitzmann C.F. _Geschichte des Clavierspiels_, 74,
Pasquini, 75.

Wesley S. 226;
_Sonatas_: 229-30.

Woelfl J. 174, 192;
_Ne Plus Ultra_ Sonata: 149-50, 193 (note);
Beethoven, 194.

Worgan I. _Sonatas_: 228.

ZACH, 31, 32.

Zimmermann Miss A. 230.

MORRISON AND GIBB, PRINTERS, EDINBURGH

FOOTNOTES:

[1] _Musikalisches Lexicon oder musikalische Bibliothek._

[2] Among the four-movement sonatas of Op. 1, No. 6 (in B minor) has
the peculiar order: Grave, Largo, Adagio, Allegro.

[3] The Preludio Adagio only consists of four chords, or two bars; the
Adagio, again, only consists of four bars. The sonata, therefore, may
be considered as of three movements.

[4] 1680-1762.

[5] 1693-1764.

[6] 1685-1750 (Veracini is regarded as of the Corelli school, yet it
should not be forgotten that his uncle, Antonio Veracini, is said to
have published "Sonate a tre, due violini e violone, o arciliuto col
basso continuo per l'organo" at Florence, already in 1662).

[7] 1692-1770.

[8] It is important to distinguish between _sonata_ and _sonata-form_.
The first movement of a modern sonata is usually in sonata-form; but
there are sonatas (Beethoven, Op. 26, etc.) which contain no such
movement. Sonata-form, as will be shown later on, has been evolved
from old binary form. By _sonata_ is understood merely a group of
movements; hence objection may certainly be taken to the term as
applied to the one-movement pieces of Dom. Scarlatti, which are not
even in sonata-form.

[9] It must be remembered that Corelli spent some time in Germany
between 1680 and 1683, the latter being the year of publication of his
first sonatas at Rome.

[10] In J.S. Bach's 2nd Sonata for Flauto traverso and Cembalo (third
movement) there is a return to the opening theme in the second
section; also in the Presto of the sonata for two violins and figured
bass we have an example very similar to the "Hoboy" sonata of Handel.

[11] Krieger, by the way, studied under Bernardo Pasquini at Rome.

[12] Cf. Corelli: Corrente in 10th Sonata of Op. 2; also Allemande and
Giga of the next sonata.

[13] Cf. Scarlatti: No. 10 of the sixty sonatas published by Breitkopf
& Haertel.

[14] When there is clearly a second subject, that of course offers the
point of return. (See Nos. 24 and 39.)

[15] See V. Schoelcher's _Life of Handel_, p. 23.

[16] See, however, chapter on the predecessors of Beethoven.

[17] See ch. iii. on Pasquin