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| To hear this music (MIDI), click [here]. To view the Lilypond source file, click [here]. | To hear this music (MIDI), click [here]. To view the Lilypond source file, click [here]. |
which, of course, are played in arpeggio.
[62] Excepting in the fifth, which, by the way, was, for a long time, considered to be the composition of J.S. Bach, and was published as such by J.C. Westphal & Co. This return to the opening theme is to be found already in the sonatinas for violin and cembalo by G.P. Telemann published at Amsterdam in 1718. See Allegro of No. 1, in A; the main theme is given as usual in the key of the dominant at the beginning of the second section. Then after a modulation to the key of the relative minor, a return is made to the opening key and the opening theme.
[63] Similar passages are to be found in the opening Vivace of J.G. Müthel's 2nd Sonata in G. He was a pupil of J.S. Bach, and either a pupil or close follower of E. Bach. His six published sonatas are of great musical interest; in his wide sweeping arpeggios and other florid passages he shows an advance on E. Bach. His 2nd Arioso with twelve variations is worth the notice of pianists in search of something unfamiliar. There are features in the music—and of these the character of the theme is not least—which remind one strongly of Beethoven's 32 C minor variations.
[64] A recitative is also to be found in a Müller sonata.
[65] "In tempo in cui ebbi l'onore di darle Lezzione di Musica in Berlino."
[66] "The two sonatas, which met with your special approval, are the only ones of this kind which I have ever composed. They are connected with the one in B minor, which I sent to you, with the one in B flat, which you now have also, and with two out of the Hafner-Würtemberg Collection; and all six were composed on a Claviacord with the short octave, at the Töplitz baths, when I was suffering from a severe attack of gout."
A series of six sonatas by E. Bach is in the Trésor des Pianistes, and is said to have been published at Nuremberg in 1744; the work is also dedicated to the Duke of Würtemberg, and the Opus number (2) is also given to it. There is mention of these sonatas in Bitter's biography of J.S. Bach's sons, but not of the others.
[67] Sechs ausgewählte Sonaten für Klavier allem von Carl Philipp Emanuel Bach bearbeitet und mit einem Vorwort herausgegeben von Hans von Bülow (Peters, Leipzig).
[68] In like manner he feels in the Andante, reflection, and in the final Andantino, melancholy consolation.