[88] Illuminating comments on this point will be found in Outlines of Musical Form from W.H. Hadow's Studies in Modern Music (2nd Series).
[89] See the prelude in D major of the second book of the Well-tempered Clavichord.
[90] For further information consult the first chapter of J.S. Shedlock's [The Pianoforte Sonata].
[91] For an extended account of this development see the second chapter, Vol. II, of The Art of Music (The National Society of Music, N.Y.). See also Chapter XIX of Pratt's History of Music.
[92] The form is also sometimes used independently, as in Brahms's Rhapsody in G minor and often, of course, in the Overture.
[93] I.e., 1st Violin, 2d Violin, Viola and Violoncello.
[94] See the eloquent comments on this analogy by d'Indy in his Course in Composition, Vol. II, Chap. 5.
[95] "Art is not more a riot of the passions than it is a debauch of the senses; it contains, no doubt, sensuous and emotional elements, the importance of which there is no need to undervalue, but it is only artistic if it subordinate them to the paramount claims of reason." W.H. Hadow, Studies in Modern Music (second series), preface.
[96] Some composers have also experimented with still freer key-relationships.
[97] For striking examples see the Expositions of the first movements of Beethoven's Third Symphony and of Tchaikowsky's Sixth Symphony.