The duet sonatas of Mozart are full of charm and skill, and will ever be pleasing to young and old. Dussek has written some delightful works, and Hummel's Op. 92, in A flat, is certainly one of the best pieces of music he ever wrote. Schubert's two sonatas (B flat, Op. 30; C, Op. 140) are very different in character: the one is smooth and agreeable; the other contains some of the noblest music ever penned by the composer.

Sonatinas are almost always written for educational purposes. No description, no analysis of such works, is necessary; only a list of the best. The "Twelve Sonatinas for the Harpsichord or Pianoforte, for the use of Scholars" (Op. 12), by James Hook (1746-1827), father of the well-known humorist, Theodore Hook, deserve honourable mention. Each number contains only two short movements; they are well written, and, though old, not dry. Joseph Bottomley, another English composer (1786-?), also wrote twelve sonatinas for the pianoforte.

Those of Clementi and Dussek seem destined to perennial life. The former composed twelve (Op. 36, 37, and 38), the latter six (Op. 20); and then, of course, of higher musical interest are the sonatinas of Beethoven (two) and Hermann Goetz (two). From an educational point of view, however, these are perhaps not of equal value with many others of inferior quality; but they are full of character and charm. Kuhlau (1786-1832), on whose name Beethoven wrote the well-known Canon, "Kuhl nicht lau," composed sonatas which, owing to their fresh, melodious character and skilful writing, justly take high rank. Op. 20, 55, 59, 60, and 88 have all been edited by Dr. H. Riemann. Among still more modern composers may be mentioned: Reinecke, whose three sonatinas (Op. 47), six sonatinas with "the right-hand part within the compass of five fingers" (Op. 127A), and (Op. 136) the "Six Miniature Sonatas" (another term for sonatinas) have given satisfaction to teachers, and enjoyment to many young pupils; also Cornelius Gurlitt, who has proved a prolific worker in this department of musical literature. His six sonatinas (Op. 121) and the duet sonatas (Op. 124,—really sonatinas) are exceedingly useful, and justly popular. Besides these, he has issued two series of progressive sonatinas: some by Diabelli, Pleyel, Steibelt, etc.; some from his own pen. Koehler's three sonatinas (without octaves), A. Loeschhorn's instructive sonatinas, E. Pauer's National Sonatinas (Ireland, Wales, Italy, etc.), and Xaver Scharwenka's two sonatinas are likewise of value.

Among various strange works written under the title of sonata we may count certain programme pieces. Thus, John Christian Bach, or "Mr. Bach," as he is named on the title-page, published a sonata "qui represente La Bataille de Rosbach," and an N.B. adds: "Dans cette Sonate La Musique vous montre le Comencement d'une Bataille le feu des Cannons et Mousqueterie L'Ataque de la Cavalerie et les L'Amendations des Blessées." This work consists of one movement (Allegro) in sonata-form. Except for the title, and the words "Canonade" and "Feu des Mousqueteries," it would be difficult to guess the subject. The music, which may be described as a study in the Alberti bass, is decidedly more correct in form than the French of the title-page. Then, again, Dussek composed a "Characteristic Sonata" describing "The Naval Battle and Total Defeat of the Grand Dutch Fleet by Admiral Duncan on the 11th of October 1797." But he was engaged in a much more suitable task when he wrote music expressing the feelings of the unfortunate Marie Antoinette.

There are three sonatas composed by A. Quintin Buée.[113] No. 3 is "for two performers on one instrument." In the last movement, the first performer is "Le Français," and he rattles along with the popular tune "Ça ira," while the second, "The Englishman," steadily plays his national air, "Rule Britannia"; towards the close, fors fuat, "God save the King" and "Ça ira" are combined.

[INDEX]

Alberti, [109], [112].
Alberti Bass, [26], [30], [33] (note), [109], [110], [239].
Albrici V. [39],
influence on Kuhnau, [42].
Ambros A.W. Pasquini, [73].
Arbeau T. Orchésographie, [15] and [16].
Arne T.A. [222], [225];
Sonatas: [226], [227].
Bach C.P.E. [9], [12], [29] and (note), [31], [32], [87], [219], [228];
Sonatas: "Frederick," [25], [85]-91,
Würtemberg, [85], [92], [93], [115],
"Reprisen," [85], [94]-100,
Töplitz, [93] and [94],
"Leichte," [100], [161] (note),
three-movement, [175],
Leipzig Collections, [85], [101]-7;
Beethoven, [86], [105], [106],
Dr. Bülow, [96]-8,
Fasch, [40],
Haydn, [93], [114], [115], [125],
Kuhnau, [22], [24],
Marpurg's Clavierstücke, [91] and [92],
Neefe, [161]-3.
Bach J.C. [28] (note), [35], [227], [239];
Sonatas: [107], [108], [236].
Bach J.C.F. [29], [35], [106].
Bach J.E. [26], [29].
Bach, J.S. [9], [14] (note), [229] (note);
Organ Concerto, [76],
sonata attributed to, [89] (note),
Forty-eight Preludes and Fugues, [160] and [161],
and fugue-form, [91];
Beethoven, [182]-5,
Kuhnau, [20], [21], [48], [87],
Rust, [152].
Bach W.F. [29];
Sonatas: [26], [108].
Banchieri, [10];
L'Organo suonarino (with sonata) [3]-5.
Banister H.C. Life of Macfarren, [140].
Bargiel, [235];
Sonata: [236].
Barry C.A. [218].
Barthélémon Miss, [229] and (note).
Bassani G. [7], [223] and (note).
Becker D. [10];
Sonatas: [43].
Becker C.F. Hausmusik in Deutschlande, [49]-50.
Beethoven L. v. [29], [31] and (note), [32], [33], [35], [45], [125], [194], [219];
Reminiscences, [133]-140, [167], [168],
patrons and friends, [168]-171,
programme-music, [21],
opus numbers, [112], [113],
connection and number of movements, [106] and [107], [171],
poetic basis, [178], [185]-191,
exposition section, [36],
approach to recapitulation, [37],
key of second subject, [177],
the "repeat," [178], [179],
Codas and Introductions, [179]-181,
central thought, [182],
disorganisation, [191];
Sonatas: (Op. 111), [57], [116], [174]-6;
table, [164]-5;
two-, [174]-6,
three-, [172]-3,
four-movement, [173]-4,
sonatinas, [238];
Symphony in C, [102], [103],
"Eroica," [135],
sketches, [171]-2,
theme of Op. 106, [210], [211];
Bach C.P.E. [86], [87],
Bach J.S. [160], [182]-5,
Brahms, [210], [211],
Haydn, [166], [167],
Kuhlau, [238],
Kuhnau, [57],
Neefe, [161]-3,
Potter, [230],
Scarlatti, [17],
Schindler, [186]-8, [190],
Weber, [192], [195]-198.
Benda G. [28], [83] and (note);
Clavierstücke, [84];
Sonatas: [27].
Bennett S. Sonatas: [231]-32.
Beringer O. [218].
Birchall R. [18], [145] (note).
Bitter C.H. [85], [92], [94] (note);
E. Bach, [97] and [98].
Böhm G. Chorale, [54], [131].
Bononcini B. [6].
Bononcini G.M. [6].
Borwick L. [205].
Bottomley J. sonatinas, [238].
Brahms J. [120];
Sonatas: [209]-18.
Chopin, [214],
Clementi, [216],
Liszt, [210], [214],
Mendelssohn, [217],
Schubert, [214].
Bossard, [42] (note).
Buée A.Q. Sonatas: [239], [240] and (note).
Bull Dr. [221].
Bülow Dr. H. v. and E. Bach's sonatas, [96]-8, [160].
Burney Dr. [4],
Musical Extracts, [6].
Burton J. Sonatas: [228].
Buxtehude, [131];
Suites, [51] and [52].
Byrd W. [221], [222].
Carlyle, his "Frederick the Great," [83] (note).
Chopin F. [229];
Sonatas: [209].
Clementi, M. [33], [45], [119] (note), [130];
Sonatas: [131], [132]-42,
sonatinas, [238];
Beethoven, [131], [133], [134],
Field, [229],
Macfarren, [140],
Mozart, [132], [133],
Potter, [230],
Scarlatti, [135].
Corelli A. [3], [6], [7], [8], [9], [11], [12], [13], [15], [16], [42], [45], [46], [74], [77]
(note), [79], [87], [224].
Cramer J.B. [108], [146], [192], [193] and (note).
Dannreuther E. [133].
Davidson J.W. [149].
Dussek J.L. [33], [197], [237], [239];
Letters to publishers, [142]-5;
Sonatas: [146]-7, [148],
Le Retour à Paris, [149],
Plus Ultra, [150],
sonatinas, [238].
Macfarren, [151]-2,
Mendelssohn, [147],
Tomaschek, [145]-6,
Woelfl, [149].
Faisst J. [50],
Analysis of a Mattheson Sonata, [22]-3.
Farina C. [6].
Fasch J.F. [40].
Fasch C.F.C. and E. Bach, [40], [41].
Ferdinand, Prince Louis, death of [144], [145] (note).
Fétis F.J. [27], [38], [240] (note),
extract from Biographie Universelle des Musiciens, [72]-3.
Field J. Sonatas: [229].