MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.
Some mention, however brief, must be made of various sonatas written
by other contemporaries of the four composers discussed in the last
chapter. After Beethoven, the only work which, from an evolution point
of view, really claims notice is one by Liszt. All other sonatas are
written on classical lines with more or less of modern colouring. Even
M. Vincent d'Indy, one of the advanced French school of composers, has
written a "Petite Sonate dans la forme classique."
Moscheles, in Germany, and Kalkbrenner, in France: these were once
names of note. Their music is often clever and brilliant, but, to
modern tastes, dry and old-fashioned; much of it, too, is superficial.
Among still more modern works may be named those of Stephen Heller,
Raff, Rubinstein, Bargiel, and Grieg. The sonatas of Heller are
failures, so far as the name sonata means anything. He was not a
composer _de longue haleine_, and his opening and closing movements
are dull and tedious; some of the middle movements--as, for example,
the two middle ones of the Sonata in C major--are, however, charming.
Bargiel's Sonata in C major (Op. 34) is written somewhat in "Heller"
style, but it is stronger, and, consequently, more interesting than
any of that composer's.
Raff and Rubinstein 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
à Quatre mains sur un Clavecin
Composé
par
J.C. Bach
----
à 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
Beethoven (two) and Hermann Goetz (two). From an educational point of
view, however, these are perhaps not of equal value with many others
of inferior quality; but they are full of character and charm. Kuhlau
(1786-1832), on whose name Beethoven wrote the well-known Canon, "Kuhl
nicht lau," composed sonatas which, owing to their fresh, melodious
character and skilful writing, justly take high rank. Op. 20, 55, 59,
60, and 88 have all been edited by Dr. H. Riemann. Among still more
modern composers may be mentioned: Reinecke, whose three sonatinas
(Op. 47), six sonatinas with "the right-hand part within the compass
of five fingers" (Op. 127A), and (Op. 136) the "Six Miniature Sonatas"
(another term for sonatinas) have given satisfaction to teachers, and
enjoyment to many young pupils; also Cornelius Gurlitt, who has proved
a prolific worker in this department of musical literature. His six
sonatinas (Op. 121) and the duet sonatas (Op. 124,--really sonatinas)
are exceedingly useful, and justly popular. Besides these, he has
issued two series of progressive sonatinas: some by Diabelli, Pleyel,
Steibelt, etc.; some from his own pen. Koehler's three sonatinas
(without octaves), A. Loeschhorn's instructive sonatinas, E. Pauer's
National Sonatinas (Ireland, Wales, Italy, etc.), and Xaver
Scharwenka's two sonatinas are likewise of value.
Among various strange works written under the title of sonata we may
count certain programme pieces. Thus, John Christian Bach, or "Mr.
Bach," as he is named on the title-page, published a sonata "qui
represente La Bataille de Rosbach," and an _N.B._ adds: "Dans cette
Sonate La Musique vous montre le Comencement d'une Bataille le feu des
Cannons et Mousqueterie L'Ataque de la Cavalerie et les L'Amendations
des Blessées." This work consists of one movement (Allegro) in
sonata-form. Except for the title, and the words "Canonade" and "Feu
des Mousqueteries," it would be difficult to guess the subject. The
music, which may be described as a study in the Alberti bass, is
decidedly more correct in form than the French of the title-page.
Then, again, Dussek composed a "Characteristic Sonata" describing "The
Naval Battle and Total Defeat of the Grand Dutch Fleet by Admiral
Duncan on the 11th of October 1797." But he was engaged in a much more
suitable task when he wrote music _expressing the feelings_ of the
unfortunate Marie Antoinette.
There are three sonatas composed by A. Quintin Buée.[113] No. 3 is
"for two performers on one instrument." In the last movement, the
first performer is "Le Français," and he rattles along with the
popular tune "Ça ira," while the second, "The Englishman," steadily
plays his national air, "Rule Britannia"; towards the close, _fors
fuat_, "God save the King" and "Ça ira" are combined.
INDEX
ALBERTI, 109, 112.
Alberti Bass, 26, 30, 33 (note), 109, 110, 239.
Albrici V. 39,
influence on Kuhnau, 42.
Ambros A.W. Pasquini, 73.
Arbeau T. Orchésographie, 15 and 16.
Arne T.A. 222, 225; _Sonatas_: 226, 227.
BACH C.P.E. 9, 12, 29 and (note), 31, 32, 87, 219, 228;
_Sonatas_: "Frederick," 25, 85-91,
Würtemberg, 85, 92, 93, 115,
"Reprisen," 85, 94-100,
Töplitz, 93 and 94,
"Leichte," 100, 161 (note),
three-movement, 175,
Leipzig Collections, 85, 101-7;
Beethoven, 86, 105, 106,
Dr. Bülow, 96-8,
Fasch, 40,
Haydn, 93, 114, 115, 125,
Kuhnau, 22, 24,
Marpurg's _Clavierstücke_, 91 and 92,
Neefe, 161-3.
Bach J.C. 28 (note), 35, 227, 239;
_Sonatas_: 107, 108, 236.
Bach J.C.F. 29, 35, 106.
Bach J.E. 26, 29.
Bach, J.S. 9, 14 (note), 229 (note);
Organ Concerto, 76,
sonata attributed to, 89 (note),
Forty-eight Preludes and Fugues, 160 and 161,
and fugue-form, 91;
Beethoven, 182-5,
Kuhnau, 20, 21, 48, 87,
Rust, 152.
Bach W.F. 29;
_Sonatas_: 26, 108.
Banchieri, 10;
_L'Organo suonarino_ (with sonata) 3-5.
Banister H.C. Life of Macfarren, 140.
Bargiel, 235;
_Sonata_: 236.
Barry C.A. 218.
Barthélémon Miss, 229 and (note).
Bassani G. 7, 223 and (note).
Becker D. 10;
_Sonatas_: 43.
Becker C.F. Hausmusik in Deutschlande, 49-50.
Beethoven L. v. 29, 31 and (note), 32, 33, 35, 45, 125, 194, 219;
Reminiscences, 133-140, 167, 168,
patrons and friends, 168-171,
programme-music, 21,
opus numbers, 112, 113,
connection and number of movements, 106 and 107, 171,
poetic basis, 178, 185-191,
exposition section, 36,
approach to recapitulation, 37,
key of second subject, 177,
the "repeat," 178, 179,
Codas and Introductions, 179-181,
central thought, 182,
disorganisation, 191;
_Sonatas_: (Op. 111), 57, 116, 174-6;
table, 164-5;
two-, 174-6,
three-, 172-3,
four-movement, 173-4,
sonatinas, 238;
Symphony in C, 102, 103,
"Eroica," 135,
sketches, 171-2,
theme of Op. 106, 210, 211;
Bach C.P.E. 86, 87,
Bach J.S. 160, 182-5,
Brahms, 210, 211,
Haydn, 166, 167,
Kuhlau, 238,
Kuhnau, 57,
Neefe, 161-3,
Potter, 230,
Scarlatti, 17,
Schindler, 186-8, 190,
Weber, 192, 195-198.
Benda G. 28, 83 and (note);
_Clavierstücke_, 84;
_Sonatas_: 27.
Bennett S. _Sonatas_: 231-32.
Beringer O. 218.
Birchall R. 18, 145 (note).
Bitter C.H. 85, 92, 94 (note);
E. Bach, 97 and 98.
Böhm G. _Chorale_, 54, 131.
Bononcini B. 6.
Bononcini G.M. 6.
Borwick L. 205.
Bottomley J. sonatinas, 238.
Brahms J. 120;
_Sonatas_: 209-18.
Chopin, 214,
Clementi, 216,
Liszt, 210, 214,
Mendelssohn, 217,
Schubert, 214.
Bossard, 42 (note).
Buée A.Q. _Sonatas_: 239, 240 and (note).
Bull Dr. 221.
Bülow Dr. H. v. and E. Bach's sonatas, 96-8, 160.
Burney Dr. 4,
Musical Extracts, 6.
Burton J. _Sonatas_: 228.
Buxtehude, 131;
Suites, 51 and 52.
Byrd W. 221, 222.
CARLYLE, his "Frederick the Great," 83 (note).
Chopin F. 229;
_Sonatas_: 209.
Clementi, M. 33, 45, 119 (note), 130;
_Sonatas_: 131, 132-42,
sonatinas, 238;
Beethoven, 131, 133, 134,
Field, 229,
Macfarren, 140,
Mozart, 132, 133,
Potter, 230,
Scarlatti, 135.
Corelli A. 3, 6, 7, 8, 9, 11, 12, 13, 15, 16, 42, 45, 46, 74, 77
(note), 79, 87, 224.
Cramer J.B. 108, 146, 192, 193 and (note).
DANNREUTHER E. 133.
Davidson J.W. 149.
Dussek J.L. 33, 197, 237, 239;
Letters to publishers, 142-5;
_Sonatas_: 146-7, 148,'
_Le Retour à Paris_, 149,
_Plus Ultra_, 150,
sonatinas, 238.
Macfarren, 151-2,
Mendelssohn, 147,
Tomaschek, 145-6,
Woelfl, 149.
FAISST J. 50,
Analysis of a Mattheson Sonata, 22-3.
Farina C. 6.
Fasch J.F. 40.
Fasch C.F.C. and E. Bach, 40, 41.
Ferdinand, Prince Louis, death of 144, 145 (note).
Fétis F.J. 27, 38, 240 (note),
extract from _Biographie Universelle des Musiciens_, 72-3.
Field J. _Sonatas_: 229.
Forkel, Letter from E. Bach to, 93-4, 96, 97.
Frederick the Great, 22, 40, 41, 82, 83 (note), 85, 88.
Frescobaldi, 71 (note).
Froberger J.J. 20, 42, 46, 51, 52.
Fuller-Maitland J.A. 51 (note), 223.
GABRIELI A. 10.
Gabrieli G. 2, 10.
Gaffi B. pupil of Pasquini, 71.
Galuppi, 27, 29, 30 and (note) 31.
Gasparini, pupil of Pasquini, 77 (note).
Geminiani, 11, 225.
Gluck, 28 (note).
Goethe, 191.
Goetz H. 238.
Graun C.H. 83.
Graun J.G. 82.
Graupner Chr. 39 ff.
Grétry, 27.
Grieco G. 80.
Grieg E. 235-6.
Grove Sir G. 20, 27 (note), 73, 111, 133, 145.
Gurlitt C. 238.
HANDEL G.F. 13, 14, 19, 26, 40, 57;
Kuhnau 48-9.
Hasler H.L. 10.
Hasse J.A. 28, 29, 84 (note);
_Sonatas_: 27, 32.
Hawkins Sir J. 223 ff.
Haydn J. 1, 37, 45, 87, 99, 164, 182, 228;
New era, 30,
anecdote, 117,
programme-music, 185,
European magazine, 114, 115,
father of symphony, 111,
"In Native Worth," 167,
number and connection of movements, 33 and (note), 106,
introductory slow movement, 138,
three-movement form, 174,
approach to dominant section, 34,
second subject, 35,
codas, 179, 189;
_Sonatas_: 113, 115-20;
Bach C.P.E. 93,
Beethoven, 166, 167,
Metastasio, 111,
Porpora, 112.
Heller S. 233, 235-6.
Hering A. 38.
Hook J. sonatinas, 237.
Hook T. 237.
Hummel J.N. 192, 194 (Op. 92), 237.
Humphries J. 224.
IKEN Dr. C. Beethoven, 188-9.
Indy, Vincent d', 235.
JAHN Otto, 120, 129, 132, 236.
KALKBRENNER F.W.M. 134, 192, 235.
Keiser, 48.
Kittel C. 38 and (notes).
Krieger J.P. 14 and (note).
Krügner S. 38 and (note).
Kühnel, 39.
Kuhnau A. 38 and (note).
Kuhnau J. 10, 22, 38, 219;
Writings and pupils, 39-41,
German and Italian influences, 42,
Bible Stories, 65-70,
Seven Partitas, 41,
Preface to Bible Sonatas, 52-4;
_Sonatas_: (B flat), 43-4,
_Frische Clavier Früchte_, 44-50,
"Bible," 19-21, 45, 46 (note), 48-9, 51, 54-65.
LEGRENZI G. 10;
_Sonatas_: 6.
Le Trésor des Pianistes, 45 (note), 80, 94 (note).
Liszt F. 235;
Beethoven, 176
_Sonata_: 210 and 218-20.
Locatelli 11, 12;
_Sonatas_: 9.
Loeschhorn A. sonatinas, 239.
Lotti, teacher of Galuppi, 29, 77 (note).
MACFARREN SIR G.A. 140;
_Sonatas_: 230 and 231;
Dussek, 151 and 152.
Marpurg, 2, 3.
Martini San, 112, 226.
Mattheson, 7, 20, 23, 38 (note), 39 (note), 40 and (note), 42;
Pasquini 74;
_Sonata_: 22-3.
Matthisson, the poet, 157.
Mendel, 27, 72.
Mendelssohn F. 151 (note), 231;
Dussek, 147.
Morley, 7.
Moscheles I. 235.
Mozart L. 34;
_Sonatas_: 27.
Mozart W.A. 33, 34, 35, 37, 45, 87, 99, 169;
Italian influence, 126-127,
Op. 1, 33 (note),
Requiem, 57,
duets, 236 and 237;
_Sonatas_: 120-5;
Beethoven, 160-1,
Clementi, 132,
Haydn, 127-9,
Kuhnau, 49.
Müthel J.G. 27, 28 (note), 33, 90 (note).
NEEFE C.G. _Sonatas_: 161-3.
Nichelmann C. 27, 28, 106.
PALESTRINA, 71, 73.
Paradies P.D. 27, 28, 108-110.
Parry Dr. C.H. 13, 20, 108;
_Sonatas_: 232 and 233.
Pasquini B. (_see frontispiece by S. Hutton_), 14 (note), 74;
His monument, 71-2;
Operas and oratorio, 72,
Toccatas and Suites, 72, 74-5,
music in Berlin Library, 73,
in British Museum, 75;
_Sonatas_: 76-80;
Fétis, 72-3,
Handel, 77 (note),
Kuhnau, 81.
Pasquini E. 71 (note).
Pauer E. 43, 80, 189 (note);
sonatinas, 239.
Pescetti G.B. _Sonatas_: 25-6.
Pleyel, 239.
Poglietti, 74 and (note).
Potter C. _Sonata_: 130.
Prieger Dr. E. 153, 159, 193 (note).
Prout Prof. E. 147.
Purcell H. 2;
_Sonatas_: 222-4.
RAFF J. 235, 236.
Ravenscroft J. 224.
Ravenscroft R. 224.
Reinecke C. 238.
Riemann Dr. H. 27 (note), 185, 238.
Rimbault Dr. 43.
Rochlitz F. 141.
Rockstro, 77 (note).
Rubinstein A. 235, 236.
Rudolph, Archduke, 165, 170, 201.
Rust Dr. W. 153 and (note).
Rust F.W. 152 ff.
Rust J.L.A. 152.
SANDONI P.G. _Sonatas_: 23-4.
Scarlatti A. 77 (note), 80.
Scarlatti D. 36, 73-4, 77 (note), 80, 89, 226;
_Sonatas_: 15, 16-19;
Bach C.P.E. 92 and 93,
Paradies, 109.
Schaffrath C. 27 and (note), 31.
Scharwenka X. 239.
Scheibe J.A. _Critischer Musikus_, 48.
Schindler A. 140 (note), 141, 142, 172, 173, 189;
Conversations with Beethoven, 186-8, 190.
Schop J. 10, 11.
Schubert F. 120, 195;
_Sonatas_: 198-206, 237.
Schumann R. 152, 200, 202, 206;
Fantasia, 209;
_Sonatas_: 208-9;
Beethoven, 207.
Sherard J. 223 (note).
Shakespeare, 190, 191.
Schoelcher V. Life of Handel, 19 (note), 77 (note).
Spenser H. 191.
Spitta Dr. P. 20, 21, 54, 57, 195.
Squire W.B. 51 (note).
Stanford Dr. C.V. _Sonata_: 233-4.
Steffani A. 77 (note);
_Sonatas_: 14.
Steibelt D. 192, 193 (note);
sonatinas, 239;
Beethoven, 194.
TARTINI G. 9, 11 (note);
_Sonatas_: 12.
Telemann G.P. 48;
_Sonatas_: 24-5,
sonatinas, 89 (note).
Tomaschek, account of Dussek's playing, 145-6.
Turini F. 5-6;
_Sonatas_, 4.
UMSTATT J. 27 and (note), 32.
VERACINI, 11 and (note), 12, 225.
Vitali G.B. 7, 223.
Vogler, Abbé, 195, 196.
WAGENSEIL G. 31 and (note), 174;
_Sonatas_: 27.
Weber C.M. v. 192;
_Sonatas_: 194-8.
Weber M.M. v. 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
& Härtel.
[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 Pasquini.
[18] "Seit einigen Jahren hat man angefangen, Sonaten für's Clavier
(da sie sonst nur für Violinen u. dgl. gehören) mit gutem Beifall zu
setzen; bisher haben sie noch die rechte Gestalt nicht, und wollen
mehr gerührt werden, als rühren, das ist, sie zielen mehr auf die
Bewegung der Finger als der Herzen."
[19] The public did not support the undertaking, and the other five
never appeared.
[20] The copy in the British Museum has no violin part, which was
probably unimportant.
[21] Emanuel Bach's predecessor as clavecinist at the Prussian Court.
[22] This name is not in Mendel, Riemann, Grove, nor Brown. Fétis,
however, mentions him as Joseph Umstadt, _maître de chapelle_ of Count
Brühl, at Dresden, about the middle of the eighteenth century, and as
composer of _Parthien_, and of six sonatas for the clavecin.
[23] See, however, the early Würtemberg sonatas.
[24] Examples to be found in Rolle, Müthel, and Joh. Chr. Bach, etc.
[25] Gluck's six sonatas for two violins and a thorough bass,
published by J. Simpson, London (probably about the time when Gluck
was in London, since he is named on title-page "Composer to the
Opera"), have three movements: slow, fast, fast,--the last generally a
Minuet.
[26] E. Bach did some strange things. One of his sonatas (Coll. of
1783, No. 1) has the first movement in G major, the second in G minor,
and the third in E major.
[27] Galuppi, No. 4, first set: Adagio, Spiritoso, Giga Allegro.
[28] Sometimes the last movement was a Tempo di Menuetto, a Polonaise,
or even a Fugue.
[29] Wagenseil's Op. 1, Sonatas with violin accompaniment. No. 4, in
C, has Allegro, Minuetto, Andante, and Allegro assai.
[30] As this experiment of Seyfert and Goldberg, in connection with
Beethoven, is of special interest, we may add that Goldberg has all
the movements in the same key, but Seyfert has both the Trio of the
Minuet, and the Andante in the under-dominant. This occurs in two of
his sonatas; in both, the opening key is major.
[31] There is, however, one curious exception. The first of the two
"Sonates pour le clavecin, qui peuvent se jouer avec l'Accompagnement
de Violon, dédiées à Madame Victoire de France, par J.G. Wolfgang
Mozart de Salzbourg, agé de sept ans," published at Paris as Op. 1,
has _four_ movements: an Allegro in C (with, by the way, an Alberti
bass from beginning to end, except at the minor chord with organ point
near the close of each section, the place for the extemporised
cadenza), an Andante in F (Alberti bass from beginning to end), a
first and second Menuet, and an Allegro molto, of course, in C. The
brief dedication to Op. 1 is signed:--"Votre très humble, très
obéissant et très petit Serviteur, J.G. Wolfgang Mozart."
[32] There is one exception: a sonata in G major, one of his earliest.
See chapter on Haydn and Mozart.
[33] Scheibe; a return for the moment to a practice which was once of
usual occurrence.
[34] Mention has been made in this chapter of a first section in a
minor piece of Scarlatti's ending in the _major_ key of the dominant.
[35] In the Sonatas of 1781, for instance, the first movement of No.
2, in F, has a definite second subject, but that is scarcely the case
with the first movement of No. 3, in F minor.
[36] This is the date given by Mattheson. In some dictionaries we find
1667; this, however, seems to be an error, for that would only make
Kuhnau fifteen years of age when he became candidate for the post of
organist of St. Thomas'. Fétis, who gives the later date (1667),
states that in 1684 Kuhnau became organist of St. Thomas', but adds:
"Quoiqu'il ne fût agé que de dix-sept ans."
[37] This Kittel must surely have been father or uncle of Johann
Christian Kittel, Bach's last pupil.
[38] Mattheson, in his _Grundlage einer Ehren-Pforte_, published at
Hamburg in 1740, complains that the names of Salomon Krügner,
Christian Kittel, A. Kuhnau, and Hering are not to be found in the
musical dictionaries. The first and third have not, even now, a place.
[39] In a letter written by Graupner to Mattheson, the former, after
mentioning that he studied the clavier and also composition under
Kuhnau, says:--"Weil ich mich auch bei Kuhnau, als Notist, von
selbsten ambot, u. eine gute Zeit für ihn schrieb, gab nur solches
gewünschte Gelegenheit, viel gutes zu sehen, u. wo etwa ein Zweifel
enstund, um mündlichen Bericht zu bitten, wie dieses oder jenes zu
verstehen?" ("As I offered myself as copyist to Kuhnau, and wrote some
long time for him, such a wished-for opportunity enabled me to study
much good (music), and, whenever a doubt arose to learn by word of
mouth how this or that was to be understood.")
[40] In the _Dictionnaire de Musique_ by Bossard (2nd ed. 1705) no
mention is made under the article "Sonata" of one for the clavier, and
yet the above had been published ten years previously.
[41] See also next chapter.
[42] Nearly the whole of this composer's works are said to have been
destroyed at the bombardment of Dresden in 1760.
[43] The sonata is given in _Le Trésor des Pianistes_ with the
ornaments, yet even there more than a dozen have been omitted.
[44] The clavier by its very nature tended towards polyphony; the
violin towards monody. And, besides, Kuhnau prided himself on the
fugal character of his sonatas.
[45] Even in the later "Bible" Sonatas, figures from these sonatas
recur.
[46] Cf. _The Fitzwilliam Virginal Book_, edited by J.A.
Fuller-Maitland and W. Barclay Squire (Breitkopf & Härtel).
[47] Johann Jakob Froberger died in 1667.
[48] Meyer thinks he was probably the son of Ercole Pasquini, born
about 1580, and predecessor of Frescobaldi at St. Peter's.
[49] Weitzmann and other writers, in referring to the work published
at Amsterdam, spell the name Paglietti; it should, however, be
Polietti or Poglietti.
[50] This piece was printed from a manuscript in the British Museum,
which bears no such title. Judging, however, from the title of the
_libro prezioso_ mentioned on p. 71 [Transcriber's Note: p. 73], that
name may originally have been given to it.
[51] The suite is printed in the _Pasquini-Grieco Album_ by Messrs.
Novello.
[52] Pasquini was no doubt one of the many composers who influenced
Handel. When the latter visited Italy before he came to London in
1710, he made the acquaintance of the two Scarlattis (Alessandro and
Domenico), Corelli, and other famous musicians at Rome; of Lotti and
Steffani at Venice; and surely at Naples he must have known Pasquini,
whose name, however, is not to be found either in Schoelcher or
Rockstro. Only Gasparini, who was a pupil of Pasquini's, is mentioned
by the former.
[53] "Si puo fare a Due Cembali."
[54] See the _Novello Album_.
[55] See the _Novello Album_.
[56] The post was offered to Bach in 1738, while Frederick was as yet
Crown Prince, but he only entered on his duties in 1740.
[57] The four sons of Hans Georg Benda (Franz, Johann, Georg, and
Joseph) were excellent musicians, and all members of the band of
Frederick the Great. Georg, the third son, composer of _Ariadne_ and
_Medea_, two _duodramas_ which attracted the attention of Mozart, was,
however, the most remarkable.
[58] Cf. Carlyle's _Frederick the Great_, vol. iv. p. 134:--"Graun,
one of the best judges living, is likewise off to Italy, gathering
singers."
[59] The symphonies appear to be three-movement overtures transcribed
for clavier. As a rule, the pieces marked as symphonies in this
collection have no double bars, and, consequently, no repeat in the
first movement. A "symphony" of Emanuel Bach is, however, marked as a
"sonata" in the _Six Lessons for the Harpsichord_, published in London
during the eighteenth century.
[60] The king was extremely fond of Hasse's music, but this composer,
though German by birth, was thoroughly Italian by training.
[61] Yet, curiously, there is no chord in the later sonatas so large
as the two on page 29 (6th Sonata)--
[Music illustration] and [Music illustration]
which, of course, are played in arpeggio.
[62] Excepting in the fifth, which, by the way, was, for a long time,
considered to be the composition of J.S. Bach, and was published as
such by J.C. Westphal & Co. This return to the opening theme is to be
found already in the sonatinas for violin and cembalo by G.P. Telemann
published at Amsterdam in 1718. See Allegro of No. 1, in A; the main
theme is given as usual in the key of the dominant at the beginning of
the second section. Then after a modulation to the key of the relative
minor, a return is made to the opening key and the opening theme.
[63] Similar passages are to be found in the opening Vivace of J.G.
Müthel's 2nd Sonata in G. He was a pupil of J.S. Bach, and either a
pupil or close follower of E. Bach. His six published sonatas are of
great musical interest; in his wide sweeping arpeggios and other
florid passages he shows an advance on E. Bach. His 2nd Arioso with
twelve variations is worth the notice of pianists in search of
something unfamiliar. There are features in the music--and of these
the character of the theme is not least--which remind one strongly of
Beethoven's 32 C minor variations.
[64] A recitative is also to be found in a Müller sonata.
[65] "In tempo in cui ebbi l'onore di darle Lezzione di Musica in
Berlino."
[66] "The two sonatas, which met with your special approval, are the
only ones of this kind which I have ever composed. They are connected
with the one in B minor, which I sent to you, with the one in B flat,
which you now have also, and with two out of the Hafner-Würtemberg
Collection; and all six were composed on a Claviacord with the short
octave, at the Töplitz baths, when I was suffering from a severe
attack of gout."
A series of six sonatas by E. Bach is in the _Trésor des Pianistes_,
and is said to have been published at Nuremberg in 1744; the work is
also dedicated to the Duke of Würtemberg, 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 ausgewählte Sonaten für Klavier allem von Carl Philipp
Emanuel Bach bearbeitet und mit einem Vorwort herausgegeben von Hans
von Bülow (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 Bülow 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, since a Clementi
sonata has appeared on a Popular Concert programme.
[79] The three Sonatas in E flat, F minor, and D, dedicated to
Maximilian Frederick, Elector of Cologne, and published at Speyer in
1783, are not here taken into account.
[80] In mentioning any of them we shall first give the Breitkopf &
Härtel numbers and then the Holle numbers in brackets, so that either
edition may be referred to.
[81] At the time of their production Dussek was not born, Hummel was
still a child, and Beethoven an infant "mewling and puking in the
nurse's arms," if, indeed, the Beethovens were able to afford the
luxury of a nurse. Even Emanuel Bach had not published any of his
Leipzig Collections, neither had Haydn written his best sonatas. As
Clementi was not only the survivor of Beethoven, but also his
predecessor, a reminder as to the state of the sonata world, when
Clementi first entered it, is not wholly unnecessary.
[82] London Symphony in E flat, No. 8 (No. 1 in Breitkopf & Härtel
_Catalogue_).
[83] See p. 187 concerning Beethoven's conversation with Schindler.
[84] Schindler, _Biography of Beethoven_, 3rd ed. vol. ii. pp. 223-4.
[85]
HAMBURGH, _June 12, 1801._
MR. CLEMENTI, MON CHER CLEMENTI,--
J'ai reçu avec un extrême plaisir votre lettre, aussi que
_L'Autoscript_ dans celle de ma femme, je suis extremement touché du
désir que vous témoignez de me revoir à Londres, mais etant une fois
dans le Continent je ne puis résister au désir de faire une visite à
mon Père, d'autant plus qui je Lui ai déja écrit que je viendrai pour
Sure le voir cette eteé, je sçais par Ses lettres qu'il attend ce
moment comme la plus grande, et peut-être, la dernière jouissance de
sa Vie; tromper dans une pareille attente un Viellard de 70 ans, ce
serait anticiper sur sa mort, d'ailleurs en arrivant en Angleterre
tout de suite je ne ferais également que manger mon argent, ou bien
celui de ma femme jusqu'à l'hiver prochain, aussi ma resolution est
prise de faire le Voyage de la Boheme; voire en passant Dresde, Prague
et Vienne, ou je sçais que je puis gagner de quoi me defrayer de tout
mon voyage, et au dela: et de revenir a Londres vers le Novembre, vous
pouvez compter ladessus, mais surtout sur le plaisir que j'aurai de
revoir et d'embrasser un ami tel que vous--Mardi prochain part d'ici
pour Londres un commis de Mr. Parish _un des premiers Banquiers d'ici_
qui vous remetra en mains propres, par un de vos associés, mes trois
nouvelles Sonates,--je suis occupé a metre au net. Les trois
Concertinos qui vous recevrez aussi dans une quinzaine au plus tard,
dont j'espere qui vous serez assez content, etant le meilleur ouvrage
que j'ai jamais fait _in the Selling Way_, adieu mon cher Clementi,
Les oreilles doivent souvent vous tinter, car je parle constamment de
vous a tout le monde, car tout le monde aime qu'on leur parle de leurs
connaissances, or vous êtes de la connaissance de tout le monde,
adieu.
Votre ami,
DUSSEK.
MESSRS LONGMAN, CLEMENTI, & CO., GENTELMEN AND FRIENDS,--
I beg you would do your possible to send to me the two grand
instruments immediately, for the two Gentelmen whom I have persuaded
to purchase them after they have heard my own, are very impatient
about it, and I am afraid if I do not receive a decided Answer from
you about it or the _connoisement_, wich I may Show them, they will be
induced to Buy some of their German Instruments as they are pretty
well influenced by the Capel Master of this Town who is a tolerable
great As in Music and an illnatured Antianglomane, besides I expect it
as the means to make my Journey to Bohemia, therefore I hope you will
be so good, and make the greatest Speed you can--you will see by the
above that I intend to be in London about November Next, when I will
be very happy to settle with you what may Balance in our account and
to continue faithfull to our agreement.
Believe me,
Gentelmen and Friends,
Yours faithfully,
DUSSEK.
You have no Idea how many proposals I have received from London about
my Compositions, some of them will make you Laugh.
[86]
AT THE GENERAL QUARTERS OF THE PRUSSIAN ARMY IN SAXONY, _the 4th 8ber
1806_.
DEAR SIR,--
I have lately composed three Quartettos for two Violins, Tenor and
Violoncello, and confess to you that I think this work above all that
I have composed, they are neither in the Stile of Mozart, or Haydn,
nor that of Pleyel, they are in the Stile of Dussek and I will hope
make some noise in the Musical World--the Price for the Propriety of
them in Britain is 60 guineas, wich I think highly moderate
considering the scarcity of good new Quartettos--I have particularly
chosen you Sir for the publication of this work, because I allways
found you very reasonable in the few Business I have had the pleasure
to make with you, and as my Contract with Clementi & Co. finishes the
4th November this year, I should be very glad to continue with you the
publication of all my Works in futur--These Quartettos are for you a
publication so advantagous that I have not the least doubt but you
will make the Bargain of them, since there is such a long time that
nothing has been published of my composition--I wish them to appear
about the middle of January, and to be dedicated _to His Royal
Highness the Prince Louis of Prussia_ with whom I am at this moment at
the Army against the French--If you wish to write to me, give the
letter to the Gentelmen who shall deliver to you the quartettos--I beg
You to give my best greetings to Mr. Crassier, Sheener, Tonkinson and
all Those that remember me, and believe me,
Your very obedient Servant,
and sincere friend,
DUSSEK,
Privy Secretary to His Royal H^s. the Prince Louis of Prussia.
The above letter is addressed to Mr. Birchal, Music Seller, New Bond
Street, London.
[87] _Musical Times_, September and October 1877.
[88] Here is one, in the 8th Variation--
[Music illustration]
[89] Mendelssohn, too, complained that Dussek was a prodigal.
[90] The one in D minor has often been performed at the Popular
Concerts.
[91] 1822-1892.
[92] The original title is: "Sonata per il Cembalo ò Fortepiano di
F.W. Rust, 1788."
[93] It is curious to note that in the supplement of the Breitkopf &
Härtel edition of Beethoven's works there are two little pieces
entitled "Lustig und Traurig."
[94] E. Bach published six easy clavier sonatas in 1765, but Neefe
probably refers to earlier and more important works.
[95] Besides those mentioned, he published in 1774 six new sonatas,
also variations on the theme "Kunz fand einst einen armen Mann."
[96] "As your Royal Highness seemed to be pleased with the sonata in C
minor, I thought it would not appear too bold to surprise you with the
dedication of it."
[97] The opening theme of that same symphony--
[Music illustration]
recalls, curiously, the last movement of Beethoven's 8th Symphony; and
still more so in the form in which he first sketched it--
[Music illustration]
[98] Schindler, by the way, relates in his _Biography of Beethoven_
(3rd ed. 2nd Part, p. 212) that, already in 1816, when there was a
proposal made by Hoffmeister to Beethoven to issue a new edition of
his pianoforte music, the master conceived the intention of indicating
the poetic idea ("Poetische Idee") underlying his various works. And
the biographer adds: "This term (_i.e. poetic idea_) belongs to
Beethoven's epoch, and was used by him as frequently as was, for
example, the expression 'poetic contents' by others--in opposition to
works which only offer an harmonic and rhythmic play of tones. Writers
on æsthetics of our day declaim against the latter term; _with_ good
reason, if it refer to programme-music; _without_ reason, if they
extend their negation to all Beethoven's music, and deny its poetic
contents. Whence that tendency, which so frequently manifests itself,
and that strong desire to give pictorial explanations, especially of
the Beethoven symphonies and sonatas, if they contained nothing but a
well-ordered harmonic and rhythmic play of tones, and if they--or, at
least, some of them--were not based on some special idea? What other
composer creates this almost irresistible desire?"
[99] Mr. E. Pauer, in his preface to Ernst von Elterlein's
_Beethoven's Pianoforte Sonatas explained for the lovers of the
musical art_,--a valuable and interesting book,--remarks: "Herr von
Elterlein's design is not so much to describe the beauties of
Beethoven's sonatas, as to direct the performer's attention to these
beauties, and to point out the _leading and characteristic features of
each separate piece_" (the italics are ours).
[100] The Finale of a Sonata in A flat by Cramer, one of three
dedicated to Haydn, is said to have suggested to Beethoven the Finale
of _his_ Sonata in A flat (Op. 26). Dr. Erich Prieger, who has
recently published a facsimile of the autograph of Beethoven's sonata,
in his preface quotes some passages from the Cramer Finale, which
certainly seem to show that the Bonn master was to some extent
influenced by his predecessor. Here is the second of the three
passages quoted:--
[Music illustration]
[101] Woelfl's "Ne plus Ultra" Sonata would have long been forgotten
but for Dussek's "Plus Ultra." See chapter on "Predecessors of
Beethoven."
[102] In Steibelt's two sonatas (Op. 62), for instance, the airs "If a
body meet a body," "Jesse Macpharlane," and "La Chrantreuse"
[Transcriber's Note: So in original, perhaps should be "Chartreuse"]
are introduced. In his Op. 40 we also find "The Caledonian Beauty,"
"The Maid of Selma," "'Twas within a mile of Edinbro' town," and "Life
let us cherish." Woelfl's sonatas (Op. 35, 38) also contain Scotch
airs, and his "Ne plus Ultra" has variations on "Life let us cherish."
[103] 1773-1853, court organist at Heldburghausen.
[104] 1766-1826, court organist at Freising.
[105] Notice, in each case, the falling interval in the second and
fourth bar.
[106] Verstohlen geht der Mond auf, blau, blau Blümelein, etc.
[107] The long arpeggio leading up to the first note is omitted.
[108] In the British Museum copy the "XII. Sonate da Chiesa, Opera
Quinta" of Bassani are bound up with "Sonate a Tre" by Giacomo
Sherard. In plain English, the latter composer was a certain James
Sherard, an apothecary by profession. The Bassani sonatas here
mentioned were published at Amsterdam. Hawkins tells us that "an
ordinary judge, not knowing that they were the work of another, might
mistake them for compositions of Corelli." The first violin book has
the following entry:--"Mr. Sherard was an apothecary in Crutched
Friars about the year 1735, performed well on the violin, was very
intimate with Handel and other Masters." This copy, which possibly
belonged to Sherard, contains also the following, written apparently
by the person into whose hands the book passed:--"Wm. Salter, surgeon
and apothecary, Whitechapel High Street." The various sonatas, too,
are marked in pencil--some as _good_; others, _very good_. The date,
1789, is also given--the year, probably, in which the volumes became
the property of W. Salter.
[109] These sonatas were afterwards published at Amsterdam as
Corelli's, being marked as his Opera Settima. On the title-page was
written "Si crede che Siano State Composte di Arcangelo Corelli avanti
le sue altre Opere."
[110] See chapter on Haydn.
[111] She was surely the daughter of François Hippolite Barthélémon
(son of a Frenchman and of an Irish lady), who was on intimate terms
with Haydn, to whom the sonata above mentioned is dedicated.
[112] Samuel Wesley (1766-1837), nephew of the Rev. John Wesley, was a
gifted musician, and is specially remembered for his enthusiastic
admiration of John Sebastian Bach. The letters which he wrote to
Benjamin Jacob on the subject of his favourite author were published
by his daughter in 1875. He also, in conjunction with C.F. Horn,
published an edition of Bach's "Wohltemperirtes Clavier."
[113] He is described on the title-page as "formerly Composer to
several Cathedral Churches in France." Buée's name is neither in Fétis
nor the Pougin Supplément.