The critic of those days must have been very dull if he required such a.s.sistance, and his ear very sensitive if offended by such consecutives as these. Lastly, we may give the name of a lady, Miss Barthelemon,[111] whose interesting Sonata in G (Op. 3) was dedicated to Haydn.

In the early part of the nineteenth century, John Field, whose nocturnes are still played and admired, wrote three sonatas (Op. 1), and dedicated them to Muzio Clementi, his teacher. No. 1 is in E flat; No. 2, in A; and No. 3, in C minor. They all consist of only two movements (No. 1, Allegro and Rondo; No. 2, Allegro and Allegro Vivace; No. 3, Allegro and Allegretto). In the first two sonatas the two movements are in the same key; in the last, the first movement is in C minor, the second, in C major. The Rondo of No. 1 contains foreshadowings of Chopin. Field's music, generally, is old-fashioned, and not worth revival; none, indeed, of his sonatas have ever been played at the Monday Popular Concerts.

Samuel Wesley[112] wrote three sonatas (Op. 3), likewise eight, dedicated to the Hon. Daynes Barrington, yet we fear that not one of them would prove acceptable at the present day. One looks in vain for the name of Wesley in the Popular Concert Catalogue. Cipriani Potter (1792-1871) deserves a word of mention. Beethoven, writing to Ries, in London, in 1818, says: "Potter has visited me several times; he seems to be a good man, and has talent for composition." His Sonata in C (Op. 1, dedicated to Mrs. Brymer Belcher) consists of three movements: an Allegro non troppo with a Haydnish theme--

[Music ill.u.s.tration]

an attractive Adagio, and a dainty and pleasing Rondo pastorale. The influence of Beethoven and Clementi is great; the individuality of Potter, small. But the sonata is thoroughly well written, and--at any rate as an educational piece--the Rondo deserves reprinting.

Sir G.A. Macfarren composed three sonatas for the pianoforte. No. 3, in G minor, dedicated to Miss Agnes Zimmermann, is a work which presents several features of interest. In the first long movement (an Allegro moderato) there is no repeat. The exposition section really contains three subjects: an opening one in the princ.i.p.al key, a second in D flat, and a third in the orthodox key of the relative major. The development section, in which there is some solid counterpoint, is decidedly clever; much use is made in it of the second subject mentioned above. The Andante is a movement of simple structure. A brisk Scherzo, in the making of which Weber and Schumann seem to have lent a helping hand, leads to a long Finale,--the last, but by no means the most successful of the four movements. We have just spoken of influences; Weber may be said to have presided at the birth of the opening Allegro, and Mendelssohn at that of the Finale. The appearance in the Finale of the D flat theme from the Allegro deserves note. This sonata may not be an inspired work, yet it has many excellent qualities.

Of Sir Sterndale Bennett's two sonatas, the 1st, in F minor (Op. 13, dedicated to Mendelssohn), commences with a long movement (Moderato expressivo), in which there are traces of the master to whom it is dedicated; it is followed by a clever Scherzo and Trio, a melodious Serenata, and a weak Presto agitato. The first, second, and last movements are in F minor, the third in F major. Schumann, in a brief notice of the work, describes it as excellent. The sonata (Op. 46) ent.i.tled "The Maid of Orleans" commences with an Andante pastorale in A flat, above which are written the following lines from Act iv. Scene 1 of Schiller's play, _Die Jungfrau von Orleans_:--

"Schuldlos trieb ich meine Lammer Auf des stillen Berges Hoh."

"In innocence I led my sheep Adown the mountain's silent steep."

The movement is graceful and pleasing. Then follows an Allegro marziale:--

"Den Feldruf hor ich machtig zu mir dringen Das Schlactross steigt, und die Trompeten klingen."

Prologue: Scene 4.

"The clanging trumpets sound, the chargers rear, And the loud war cry thunders in mine ear."

Then an "In Prison" section with suitable superscription--

"h.o.r.e mich, Gott, in meiner hochsten Noth," etc.

Act v. Scene 2.

"Hear me, O G.o.d, in mine extremity."

Lastly, a Finale--

"Kurz ist das Schmerz, und ewig ist die Freude."

Act v. Scene 14.

"Brief is the sorrow, endless is the joy."

The t.i.tle and the various superscriptions naturally cause the sonata to be ranked as programme-music, but of a very simple kind. It is easy to suggest pastoral scenes: a few pedal notes, a certain simplicity of melody, and a few realistic touches expressive of the waving of branches of trees, or the meandering of a brook, and the thing is accomplished.

Dr. C.H. Parry is an English composer whose name has of late been much before the public. He has written works both secular and sacred for our important provincial festivals; also chamber music, songs, etc.; and all his music shows mastery of form, skill in the art of development, and eclectic taste. For the present, we are, however, concerned merely with his sonatas. Like Brahms, he at first composed pianoforte sonatas: No. 1, in F; No. 2, in A minor and major. Brahms made a third attempt, but the two just mentioned are all that are known to us of Dr. Parry's. No. 1 opens with a non troppo Allegro, a smooth movement of somewhat pastoral character; the music, also the writing for the instrument, remind one occasionally of Stephen h.e.l.ler.

A bright, though formal Scherzo, with a well-contrasted Trio in the key of the submediant, is followed by a melodious Andante and a graceful, showy Allegretto.

No. 2 has an introductory movement marked _maestoso_; it is divided into three sections. The first opens with a phrase of dramatic character; the second, in the remote key of G sharp minor, contains two short, expressive, Schumannish themes treated in imitation; the third has pa.s.sages leading back to the opening key and phrase. The Allegro grazioso which follows is a compact little movement; in form it is orthodox, yet there is no repeat to the exposition section. The influence of h.e.l.ler is still felt, but also that of Schumann. Grace rather than power distinguishes the Adagio con sentimento, in the key of C sharp minor. The Scherzo is clever and effective, and the Allegretto cantabile, though the last, is scarcely the best of the four movements.

A ma.n.u.script Sonata in D flat (Op. 20) by Dr. C.V. Stanford, another prominent composer of our day, was produced at the Popular Concerts (4th February 1884). It consists of an Adagio leading to an Allegro moderato. Then follows an Intermezzo in the key of the relative minor.

An Adagio (F major) leads to the Allegro Finale in D flat major. It is thus noticed in the _Musical Times_ of March 1884:--"Some listeners have professed to perceive in the work a deliberate intention to violate the established laws of form, but we confess that to us no such design is apparent. In matters of detail, Mr. Stanford shows himself an independent thinker, but in all essentials his newest work is as cla.s.sical in outline as could possibly be desired. The opening Adagio is exceedingly impressive, and the succeeding Allegro moderato is worked out with splendid mastery of the subject-matter, the general effect being that of a lofty design carried into execution by a thoroughly experienced hand. The succeeding Allegro grazioso, a modified kind of Scherzo, is vigorous, and the final Allegro commodo, with its excellent first subject, seems scarcely less important than the first movement."

CHAPTER XI

MODERN SONATAS, DUET SONATAS, SONATINAS, ETC.

Some mention, however brief, must be made of various sonatas written by other contemporaries of the four composers discussed in the last chapter. After Beethoven, the only work which, from an evolution point of view, really claims notice is one by Liszt. All other sonatas are written on cla.s.sical lines with more or less of modern colouring. Even M. Vincent d'Indy, one of the advanced French school of composers, has written a "Pet.i.te Sonate dans la forme cla.s.sique."

Moscheles, in Germany, and Kalkbrenner, in France: these were once names of note. Their music is often clever and brilliant, but, to modern tastes, dry and old-fashioned; much of it, too, is superficial.

Among still more modern works may be named those of Stephen h.e.l.ler, Raff, Rubinstein, Bargiel, and Grieg. The sonatas of h.e.l.ler are failures, so far as the name sonata means anything. He was not a composer _de longue haleine_, and his opening and closing movements are dull and tedious; some of the middle movements--as, for example, the two middle ones of the Sonata in C major--are, however, charming.

Bargiel's Sonata in C major (Op. 34) is written somewhat in "h.e.l.ler"

style, but it is stronger, and, consequently, more interesting than any of that composer's.

Raff and Rubinstein both wrote pianoforte sonatas, but these do not form prominent features in their art-work.

Grieg's one Sonata in E minor (Op. 7) is a charming, clever composition; yet as it was with Chopin, so is it with this composer: his smallest works are his greatest.

Of duet sonatas there is little more to do than to mention the princ.i.p.al ones. In the evolution of the sonata they are of little or no moment. Some, however, are highly attractive. It would be interesting to know who wrote the first sonata for four hands, but the point is not an easy one to settle. Jahn, speaking of Mozart's duets, remarks that "pianoforte music for two performers was then far from having attained the popularity which it now possesses, especially among amateurs." We imagine that the

Sonate a Quatre mains sur un Clavecin Compose par J.C. Bach ---- a Amsterdam chez J. Schnitt Marchand de Musique dans le Warmoes-straat

was one of, if not the earliest. The part for the second clavier is printed under that of the first. The sonata consists of only two movements: an Allegro and a Rondo. The general style and treatment of the two instruments reminds one of Mozart, but the music is crude in comparison. Here is the commencement of the theme of the first movement--

[Music ill.u.s.tration]

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 n.o.blest music ever penned by the composer.

Sonatinas are almost always written for educational purposes. No description, no a.n.a.lysis 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 compa.s.s 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 t.i.tle of sonata we may count certain programme pieces. Thus, John Christian Bach, or "Mr.

Bach," as he is named on the t.i.tle-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 Blessees." This work consists of one movement (Allegro) in sonata-form. Except for the t.i.tle, 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 ba.s.s, is decidedly more correct in form than the French of the t.i.tle-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 Buee.[113] No. 3 is "for two performers on one instrument." In the last movement, the first performer is "Le Francais," and he rattles along with the popular tune "ca ira," while the second, "The Englishman," steadily plays his national air, "Rule Britannia"; towards the close, _fors fuat_, "G.o.d save the King" and "ca ira" are combined.

INDEX