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but afterwards—
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In the [introductory chapter] we noted the change with regard to the number of movements of a sonata which took place between 1683, when Corelli published his first sonatas, and 1740, when E. Bach composed his first set. Instances were given of sonatas in three movements by Corelli, but with that composer four was the normal number; with E. Bach, three. This change came about in great measure through the concerto. From E. Bach, we are able to show the links in the chain of development: Bach, Haydn, Mozart, Beethoven; but though between Kuhnau, the first writer of sonatas for the clavier, and Bach, B. Pasquini wrote, as mentioned in the [last chapter], sonatas in three movements, yet we have no knowledge that Bach was acquainted with them. Kuhnau, in fact, however interesting a phenomenon in the musical firmament, is not necessary to explain the appearance of Bach. Joh. Sebastian Bach was undoubtedly acquainted with the "Bible" Sonatas. He must have admired them, but he may have been afraid of the freedom of form which they displayed, and of their tendency to programme-music; and perhaps he did not speak of them to his sons, lest they should be led astray. For, as we have already mentioned, Sebastian Bach seems to have yielded for a moment to the Kuhnau influence, but, if we may judge from his subsequent art-work, he did not feel satisfied that it was a good one.
In 1742, E. Bach dedicated the six sonatas (composed in 1740) to Frederick the Great. The title-page runs thus:—
Sei Sonate
per Cembalo
che all' Augusta Maestà
di
Frederico II.
Rè di Prussia
D.D.D.
l'Autore
Carlo Filippo Emanuele Bach
Musico di Camera di S.M.
Alle spese di Balth. Schmid
in Norimberga.
And in the obsequious dedication, the composer describes them as works "debolissimo Talento mio." As Bach's earliest published sonatas, they are, for our purpose, of special interest. Their order is as follows:—