It is interesting to note that each of the two sonatas (Op. 1, No. 7, and Op. 4, No. 10), most in keeping with its title of sonata, has the middle movement in a relative key. Op. 1, No. 7, begins with an Allegro in common time; and the short Grave is followed by a light Allegro in six-eight time. The first movement, with its marked return to the principal key, is very interesting in the matter of form. The other sonatas with suite titles have all their movements in the same key. Locatelli in his XII Sonate for flute, published early in the eighteenth century, has in the first: Andante, Adagio, Presto; also Nos. 3, 5, etc. So, too, in Tartini's Sonatas (Op. 1) there are also some in three (No. 3, etc.). But Emanuel Bach commenced with that number, to which, with few and unimportant exceptions, he remained faithful; likewise to the slow movement dividing the two quick ones. The three-movement form used by J.S. Bach for his concertos and sonatas no doubt considerably influenced his son. But already, in 1668, Diderich Becker, in his Musikalische Frülings-Früchte, wrote sonatas for violins, etc. and continuo, in three movements. (No. 10, Allegro, Adagio, Allegro. Again, Sonata No. 19 opens with a movement in common time, most probably an Allegro; then comes an Adagio, and, lastly, a movement in six-four, most probably quick tempo.) These sonatas of Becker a 3, 4 or 5, with basso continuo, are unfortunately only printed in parts. As a connecting link between the Gabrielis and Corelli, and more particularly as a forerunner of Kuhnau, Becker is of immense importance. We are concerned with the clavier sonata, otherwise we should certainly devote more space to this composer. We have been able to trace back sonatas by German composers to Becker (1668), and by Italian composers to Legrenzi (1655); those of Gabrieli and Banchieri, as short pieces, not a group of movements, are not taken into account. Now, of earlier history, we do know that Hans Leo. von Hasler, said to have been born at Nuremberg in 1564, studied first with his father, but afterwards at Venice, and for a whole year under A. Gabrieli. Italian and German art are thus intimately connected; but what each gave to, or received from, the other with regard to the sonata seems impossible to determine. The Becker sonatas appeared at Hamburg, and surely E. Bach must have been acquainted with them. Becker in his preface mentions another Hamburg musician—a certain Johann Schop—who did much for the cause of instrumental music. Schop, it appears, published concertos for various instruments already in the year 1644. And there was still another work of importance published at Amsterdam, very early in the eighteenth century, by the famous violinist and composer G. Torelli, which must have been known to E. Bach. It is entitled "Six Sonates ou Concerts à 4, 5, e 6 Parties," and of these, five have three movements (Allegro, Adagio, and Allegro).
Corelli was the founder of a school of violin composers, of which Geminiani,[4] Locatelli,[5] Veracini,[6] and Tartini[7] were the most distinguished representatives; the first two were actually pupils of the master. In the sonatas of these men there is an advance in two directions: sonata-form[8] is in process of evolution from binary form, i.e. the second half of the first section is filled with subject-matter of more definite character; the bars of modulation and development are growing in number and importance; and the principal theme appears as the commencement of a recapitulation. We should like to say that binary is changing into ternary form; unfortunately, however, the latter term is used for a different kind of movement. To speak of a movement in sonata-form, containing three sections (exposition, development, and recapitulation) as in binary form, seems a decided misnomer.
The violinists just mentioned were the last great writers of sonatas in Italy. Emanuel Bach arose during the first half of the eighteenth century, and, henceforth, Germany took the lead; Bach was followed by Haydn, Mozart, and Beethoven. The influence of the Corelli[9] school was felt in Germany and also in England. Sonatas were published by Veracini at Dresden in 1721, and by Tartini and Locatelli at Amsterdam before 1740. Again Veracini was for a time solo violinist to the Elector of Dresden (1720-23); Tartini lived for three years at Prague (1723-26), while Locatelli, during the first half of the eighteenth century, made frequent journeys throughout Germany. Emanuel Bach, the real founder of the modern pianoforte sonata, must have been influenced by their works.
In a history of the development of the sonata generally, those of Corelli would occupy an important place, for in them we find not only fugal and dance forms, but also hints of sonata-form.
Dr. Parry, in his article on "Sonata" in Sir G. Grove's Dictionary of Music and Musicians, has named the Corrente of Corelli's 5th Sonata in Op. 4 as offering "nearly a miniature of modern binary form." The well-known Giga Allegro of the 9th Sonata (Op. 5), and the Allemanda Allegro of the 10th Concerto in C, also present remarkable foreshadowings.
Handel, however, furnishes a very striking illustration—
In the six "Sonatas or Trios for two Hoboys with a thorough bass for the harpsichord," said to have been composed already in 1696, we find quick movements in binary form. In some, the first section offers both a first and a second subject, while in the second section, after modulation, there is a return to the opening theme, though quite at the close of that section. A brief description of one will make the form clearer. The second Allegro of No. 4 (in F) has two sections. The first, which ends in the dominant key (C), contains forty-six bars. The opening theme begins thus:—
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