with accompaniment for a
violin).[20] Opera prima. (A. Hummel, London.)

SCHAFFRATH, Christoph.[21] Six sonates, Op. 2
(published by Haffner, Nuremberg, 1754).

MOZART, Leopold. Three sonatas (_Oeuvres melees_).

MUeTHEL, Joh. Gottfr. Three sonatas, etc. (Haffner,
Nuremberg, about 1753); three sonatas (autograph).

UMSTATT, Joseph.[22] One sonata (_Oeuvres melees_).
Sonata consisting of only a Minuetto, Trio, and Gigue
(Leipzig collection). And the two Italians--

GALUPPI. Sonate per cembalo (London); and

PARADIES, P. Domenico. Twelve sonate di
gravicembalo (London).

GRETRY, Belgian composer (1741-1813), wrote "Six
sonates pour le clavecin" (1768), to which, unfortunately,
we have not been able to gain access.

From the two collections, etc., may be gathered many facts of
interest. First, as regards the number and character of movements in a
sonata. Emanuel Bach kept, for the most part, to three: two fast
movements, divided by a slow one.[23] In the second of his Leipzig
collections (1780), there are two with only two movements (Nos. 2 and
3; a few bars connecting the two movements of No. 3). But among other
composers there are many examples; in some sonatas, the first movement
is a slow one; in others, both movements are quick, in which case the
second one is frequently a minuet.[24] All twelve sonatas of Paradies
have only two movements.

Of sonatas in three movements, some commence with a slow movement
followed by two quick movements.[25] (In one instance, in E. Bach's
sonatas, the 1st Collection, No. 2, in F, we even find two slow
movements followed by a quick one, Andante, Larghetto, Allegro assai.)
But the greater number had the usual order:--Allegro or Allegretto,
Andante or Adagio, and Allegro or Presto. Thus Hasse, Nichelmann,
Benda, and other composers. Now in E. Bach's Wuertemberg sonatas we
found all three movements were in the same key, and there are similar
cases in Hasse, Fried. Bach, Joh. Ernst Bach, etc.; but for the most
part, the middle (slow) movement was in some nearly related key; in a
sonata commencing in major--in the relative, or tonic minor, or minor
under-dominant; and even (as in a sonata by Adlgasser) in the
upper-dominant. Joh. C.F. Bach, in one instance, selected the minor
key of the upper-dominant, and there are examples of more remote keys
(E. Bach, Coll. of 1780, No. 1). With sonatas commencing in m