[98] The ultra-conservative attitude of Brahms is shown by his retention of the double bar and repeat, although this is often ignored by modern conductors.
[99] It was probably a development of this kind which called forth the characteristic comment from Debussy who once remarked to a friend at a concert, "Let us flee! he is going to develop."
[100] See Grétry's amusing comments on the Sonata-Form cited by Romain Rolland in the essays Musicians of Former Days.
[101] See also Wagner's comments on the Third Leonora Overture, cited by Ernest Newman in his Musical Studies, pp. 134-135.
[102] Additional illustrations of this treatment may be found in Chabrier's Overture to Gwendoline and in the first movement of F.S. Converse's String Quartet.
[103] Those interested in this development should consult [The Pianoforte Sonata] by J.S. Shedlock, and above all, d'Indy's Course of Musical Composition, Part III.
[104] This, according to d'Indy, was so-called because pleasing to the ladies who played an important part in the elaborate court ceremonial of that day.
[105] Six of P.E. Bach's Sonatas edited by von Bülow are readily accessible and some excellent comments upon the most significant ones may be found in Shedlock (see [above]).
[106] See his Study of the History of Music, p. 154.
[107] See for example the Salomon Symphony in E-flat, every movement of which is founded on a Croatian folk-song.