[69] Leipziger Mus. Almanack, 1783.
[70] The number of sonatas in each collection grew gradually smaller: first six, then three, lastly two. The dates of composition in the last column of above table may be studied with advantage: a later date of publication does not necessarily imply a more advanced work. Thus, of the three fine sonatas in the 3rd Collection (all of which are included in the Bülow selection), one was written eighteen, another fifteen, and the third (though first in order of reckoning), seven years before the date of publication (1781).
[71] See particularly the Sonata in G (collection of 1783).
[72] All of these consist of two movements; in the first, both movements are marked Andante.
[73] For the benefit of readers who may not possess Pohl's J. Haydn, we insert in brackets, after the Pohl numbers, those of the Holle edition.
[74] Cf. C.F. Pohl's J. Haydn, vol. ii. p. 311. They are in the keys of D, E flat, and A, and are interesting. The Tempo di Menuetto of the second presents a strict canon in the octave. In the last, too, there is a curious canon.
[75] The treble of the tenth bar of the second section has been frequently printed a third too high.
[76] This Sonata in E flat (Op. 78) was dedicated to Mrs. Bartolozzi, wife of the famous engraver, and to her Haydn also dedicated one in C major, marked as Op. 79,—a bright, clever and showy work, in which the influence of Clementi is sensibly felt. The development section of the opening Allegro, together with the return to the principal theme, is interesting. The Adagio, in the key of the subdominant, is one of Haydn's best, while the final movement (Allegro molto) is full of life and humour.
[77] "Clementi is a charlatan, like all the Italians" (Letter to his sister, June 7, 1783).
[78] It is thirty-five years since the fine one in B minor was performed at the Popular Concerts; and eighteen, since a Clementi sonata has appeared on a Popular Concert programme.