CONTENTS

CHAP.PAGE
[PREFACE][v]
I. [INTRODUCTORY][1]
II. [JOHANN KUHNAU][38]
III. [BERNARDO PASQUINI: A CONTEMPORARY OF J. KUHNAU][71]
IV. [EMANUEL BACH AND SOME OF HIS CONTEMPORARIES][82]
V. [HAYDN AND MOZART][111]
VI. [PREDECESSORS OF BEETHOVEN][130]
VII. [LUDWIG VAN BEETHOVEN][160]
VIII. [TWO CONTEMPORARIES OF BEETHOVEN][192]
IX. [SCHUMANN, CHOPIN, BRAHMS, AND LISZT][207]
X. [THE SONATA IN ENGLAND][221]
XI. [MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.][235]
[INDEX][241]

PREFACE

This little volume is entitled "The Pianoforte Sonata: its Origin and Development." Some of the early sonatas mentioned in it were, however, written for instruments of the jack or tangent kind. Even Beethoven's sonatas up to Op. 27, inclusive, were published for "Clavicembalo o Pianoforte." The Germans have the convenient generic term "Clavier," which includes the old and the new instruments with hammer action; hence, they speak of a Clavier Sonate written, say, by Kuhnau, in the seventeenth, or of one by Brahms in the nineteenth, century.

The term "Piano e Forte" is, however, to be found in letters of a musical instrument maker named Paliarino, written, as we learn from the valuable article "Pianoforte," contributed by Mr. Hipkins to Sir George Grove's Dictionary of Music and Musicians, already in the year 1598, and addressed to Alfonso II., Duke of Modena. The earliest sonata for a keyed instrument mentioned in this volume was published in 1695; and to avoid what seems an unnecessary distinction, I have used the term "Pianoforte Sonata" for that sonata and for some other works which followed, and which are usually and properly termed "Harpsichord Sonatas."

I have to acknowledge kind assistance received from Mr. A.W. Hutton, Mr. F.G. Edwards, and Mr. E. Van der Straeten. And I also beg to thank Mr. W. Barclay Squire and Mr. A. Hughes-Hughes for courteous help at the British Museum; likewise Dr. Kopfermann, chief librarian of the musical section of the Berlin Royal Library.

J.S. SHEDLOCK.

London, 1895.