In the early part of the nineteenth century, John Field, whose nocturnes are still played and admired, wrote three sonatas (Op. 1), and dedicated them to Muzio Clementi, his teacher. No. 1 is in E flat; No. 2, in A; and No. 3, in C minor. They all consist of only two movements (No. 1, Allegro and Rondo; No. 2, Allegro and Allegro Vivace; No. 3, Allegro and Allegretto). In the first two sonatas the two movements are in the same key; in the last, the first movement is in C minor, the second, in C major. The Rondo of No. 1 contains foreshadowings of Chopin. Field's music, generally, is old-fashioned, and not worth revival; none, indeed, of his sonatas have ever been played at the Monday Popular Concerts.
Samuel Wesley[112] wrote three sonatas (Op. 3), likewise eight, dedicated to the Hon. Daynes Barrington, yet we fear that not one of them would prove acceptable at the present day. One looks in vain for the name of Wesley in the Popular Concert Catalogue. Cipriani Potter (1792-1871) deserves a word of mention. Beethoven, writing to Ries, in London, in 1818, says: "Potter has visited me several times; he seems to be a good man, and has talent for composition." His Sonata in C (Op. 1, dedicated to Mrs. Brymer Belcher) consists of three movements: an Allegro non troppo with a Haydnish theme—
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an attractive Adagio, and a dainty and pleasing Rondo pastorale. The influence of Beethoven and Clementi is great; the individuality of Potter, small. But the sonata is thoroughly well written, and—at any rate as an educational piece—the Rondo deserves reprinting.
Sir G.A. Macfarren composed three sonatas for the pianoforte. No. 3, in G minor, dedicated to Miss Agnes Zimmermann, is a work which presents several features of interest. In the first long movement (an Allegro moderato) there is no repeat. The exposition section really contains three subjects: an opening one in the principal key, a second in D flat, and a third in the orthodox key of the relative major. The development section, in which there is some solid counterpoint, is decidedly clever; much use is made in it of the second subject mentioned above. The Andante is a movement of simple structure. A brisk Scherzo, in the making of which Weber and Schumann seem to have lent a helping hand, leads to a long Finale,—the last, but by no means the most successful of the four movements. We have just spoken of influences; Weber may be said to have presided at the birth of the opening Allegro, and Mendelssohn at that of the Finale. The appearance in the Finale of the D flat theme from the Allegro deserves note. This sonata may not be an inspired work, yet it has many excellent qualities.
Of Sir Sterndale Bennett's two sonatas, the 1st, in F minor (Op. 13, dedicated to Mendelssohn), commences with a long movement (Moderato expressivo), in which there are traces of the master to whom it is dedicated; it is followed by a clever Scherzo and Trio, a melodious Serenata, and a weak Presto agitato. The first, second, and last movements are in F minor, the third in F major. Schumann, in a brief notice of the work, describes it as excellent. The sonata (Op. 46) entitled "The Maid of Orleans" commences with an Andante pastorale in A flat, above which are written the following lines from Act iv. Scene 1 of Schiller's play, Die Jungfrau von Orleans:—
"Schuldlos trieb ich meine Lämmer
Auf des stillen Berges Höh."
"In innocence I led my sheep
Adown the mountain's silent steep."