is said to have been published at Nuremberg in 1744; the work is
also dedicated to the Duke of Wuertemberg, and the Opus number (2) is
also given to it. There is mention of these sonatas in Bitter's
biography of J.S. Bach's sons, but not of the others.

[67] Sechs ausgewaehlte Sonaten fuer Klavier allem von Carl Philipp
Emanuel Bach bearbeitet und mit einem Vorwort herausgegeben von Hans
von Buelow (Peters, Leipzig).

[68] In like manner he feels in the Andante, _reflection_, and in the
final Andantino, _melancholy consolation_.

[69] _Leipziger Mus. Almanack_, 1783.

[70] The number of sonatas in each collection grew gradually smaller:
first six, then three, lastly two. The dates of composition in the
last column of above table may be studied with advantage: a later date
of publication does not necessarily imply a more advanced work. Thus,
of the three fine sonatas in the 3rd Collection (all of which are
included in the Buelow selection), one was written eighteen, another
fifteen, and the third (though first in order of reckoning), seven
years before the date of publication (1781).

[71] See particularly the Sonata in G (collection of 1783).

[72] All of these consist of two movements; in the first, both
movements are marked Andante.

[73] For the benefit of readers who may not possess Pohl's _J. Haydn_,
we insert in brackets, after the Pohl numbers, those of the Holle
edition.

[74] Cf. C.F. Pohl's _J. Haydn_, vol. ii. p. 311. They are in the keys
of D, E flat, and A, and are interesting. The Tempo di Menuetto of the
second presents a strict canon in the octave. In the last, too, there
is a curious canon.

[75] The treble of the tenth bar of the second section has been
frequently printed a third too high.

[76] This Sonata in E flat (Op. 78) was dedicated to Mrs. Bartolozzi,
wife of the famous engraver, and to her Haydn also dedicated one in C
major, marked as Op. 79,--a bright, clever and showy work, in which
the influence of Clementi is sensibly felt. The development section of
the opening Allegro, together with the return to the principal theme,
is interesting. The Adagio, in the key of the subdominant, is one of
Haydn's best, while the final movement (Allegro molto) is full of life
and humour.

[77] "Clementi is a charlatan, _like all the Italians_" (Letter to his
sister, June 7, 1783).

[78] It is thirty-five years since the fine one in B minor was
performed at the Popular Concerts; and eighteen,