inor, the
key selected for the middle movement was generally the relative major
of the under-dominant, or that of the tonic; sometimes even tonic
major. A very extraordinary example of a remote key is to be met with
in Bach's Collection of 1779, No. 3: his opening movement is B minor,
but his middle one, G minor.[26]

It should be mentioned with regard to sonatas in three movements
commencing in a minor key, that the last generally (in works of this
period) remains and ends in minor. In modern sonatas the major is
often found, at any rate before the close (see Beethoven, Op. 10, No.
1, etc.).

Baldassare Galuppi, born in 1706 on the island of Burano, near Venice,
was a pupil of Lotti's. Two sets of six "Sonate per il cembalo" of
his were published in London. We cannot give the date, but may state
that a sonata of his in manuscript bears the date 1754 (whether of
copy or composition is uncertain; anyhow, the year given acts as
limit). The variety in the number of the movements of the published
sonatas (one has four, some have three, some two, while No. 2 of the
first set has only one) points to a period of transition. This alone,
apart from the freshness and charm of the music, entitles them to
notice. Much of the writing is thin (only two parts), and,
technically, the music far less interesting than the Scarlatti pieces.
Some of the phrases and figures, and the occasional employment of the
Alberti bass, tell, however, of the new era soon about to be
inaugurated by Haydn. There is one little feature in the 1st Sonata of
the first set which may be mentioned. In the second section of the
Adagio (a movement in binary form) of that sonata, the theme appears,
as usual then, at the beginning of the second section, and, later on,
reappears in the principal key, but it starts on the fourth, instead
of the eighth quaver of the bar.

There was great variety in the order of movements. Sometimes a slow
movement was followed by two quick movements;[27] and the third
movement was frequently a minuet. The quick movement sometimes came in
the middle (Galuppi, Sonata in B flat), sometimes at the beginning
(E. Bach, Coll. 1781, No. 3), sometimes at the end (E. Bach, Coll.
1779, No. 2). Then, again, sometimes all, but frequently two of the
three movements, were connected, _i.e._ the one passed to the other
without break.

So much for sonatas in two or three movements. But among the _Oeuvres
melees_ there are no less than twenty which