The light, lively final movements need no description. All the music of these sonatas is written in two or three parts or voices; occasionally there are chord passages in which for the moment the number is increased. We have dwelt somewhat in detail on this work, as it appears to be little known.
There is a sonata in the key of D major, published in the 3rd Collection (1763) of Marpurg's Clavierstücke (p. 10), by E. Bach, which was written in the same year (1740), but earlier than the "Frederick" Sonatas. C.H. Bitter remarks that if the year of composition were not known, it would certainly pass as a much later work. The first movement reminds one of Beethoven's terse, bold style. Bitter refers to the freedom with which the thoughts are expressed, to the melodious character of the Andante, and to the humour of the Finale. He might also have referred to the style of writing for the instrument, which suggests a later date.
In 1745 (?) appeared the Würtemberg Sonatas (so called because they were dedicated to Bach's pupil, the Duca di Wirtemberg e Teckh, as he is named on the title-page of the original edition). These sonatas are marked as Opera seconda. They were offered by the composer to the Duke in recognition of the many favours shown to him "at the time when I had the honour of giving you lessons in music at Berlin."[65] Of these sonatas we have only been able to have access to the two preserved in the British Museum; the others are probably of similar character.
No. 1, in E flat, opens with an Adagio, followed by an Allegro assai (E flat), and then by a Menuet alternato and Trio, both in E flat, and with the former da capo. The first and second movements are in old binary form; the Allegro shows the influence of D. Scarlatti. The Minuet is fresh and pleasing. It is evident, taking E. Bach himself as standard, that this is a suite rather than a sonata.
No. 2, in B flat, is of similar character and construction. Both sonatas are old in form, but more modern in their subject-material and style of writing than those dedicated to the King of Prussia. In the latter there is a solidity not to be found here; in its place we have lightness, almost merriment; they were written, one would almost think, expressly for the amusement of the Duke. The rapid semi-quaver passages (as in No. 1) and the crossing of hands (as in No. 2) tell in no undecided manner of the influence of Scarlatti. The exceedingly light and graceful Minuets remind one of the kinship between the composer and Haydn.
In a letter to Forkel, dated 10th February 1775, Bach writes as follows:—
"Die 2 Sonaten, welche Ihren Beyfall vorzüglich haben, sind die einzigen von dieser Art, die ich je gemacht habe. Sie gehören zu der, aus dem H-moll, die ich Ihnen mitschickte, zu der aus dem B, die Sie nun auch haben, u. zu 2en aus der Hafner-Würtembergischen Sammlung, u. sind alle 6 anno 1743, im Töplitzer Bade von mir, der ich damahls sehr gicht-brüchig war, auf einem Claviacord mit der kurzen Octav verfertiget."[66]
It would be interesting to know the two sonatas belonging to this period, "the only ones of the kind that I have ever written." In the catalogue of musical remains of E. Bach, published two years after his death, the opening bars are given of a Sonata in B minor (see above letter) written at Töplitz in 1743—
