Steibelt D. 192, 193 (note);
  sonatinas, 239;
  Beethoven, 194.

TARTINI G. 9, 11 (note);
  Sonatas:  12.

Telemann G.P. 48;
  Sonatas:  24-5,
     sonatinas, 89 (note).

Tomaschek, account of Dussek’s playing, 145-6.

Turini F. 5-6;
  Sonatas, 4.

UMSTATT J. 27 and (note), 32.

VERACINI, 11 and (note), 12, 225.

Vitali G.B. 7, 223.

Vogler, Abbe, 195, 196.

WAGENSEIL G. 31 and (note), 174;
  Sonatas:  27.

Weber C.M. v. 192;
  Sonatas:  194-8.

Weber M.M. v. 194.

Weitzmann C.F. Geschichte des Clavierspiels, 74,
  Pasquini, 75.

Wesley S. 226;
  Sonatas:  229-30.

Woelfl J. 174, 192;
  Ne Plus Ultra Sonata:  149-50, 193 (note);
  Beethoven, 194.

Worgan I. Sonatas:  228.

ZACH, 31, 32.

Zimmermann Miss A. 230.

MORRISON AND GIBB, PRINTERS, EDINBURGH

FOOTNOTES: 

[1] Musikalisches Lexicon oder musikalische Bibliothek.

[2] Among the four-movement sonatas of Op. 1, No. 6 (in B minor) has the peculiar order:  Grave, Largo, Adagio, Allegro.

[3] The Preludio Adagio only consists of four chords, or two bars; the Adagio, again, only consists of four bars.  The sonata, therefore, may be considered as of three movements.

[4] 1680-1762.

[5] 1693-1764.

[6] 1685-1750 (Veracini is regarded as of the Corelli school, yet it should not be forgotten that his uncle, Antonio Veracini, is said to have published “Sonate a tre, due violini e violone, o arciliuto col basso continuo per l’organo” at Florence, already in 1662).

[7] 1692-1770.

[8] It is important to distinguish between sonata and sonata-form.  The first movement of a modern sonata is usually in sonata-form; but there are sonatas (Beethoven, Op. 26, etc.) which contain no such movement.  Sonata-form, as will be shown later on, has been evolved from old binary form.  By sonata is understood merely a group of movements; hence objection may certainly be taken to the term as applied to the one-movement pieces of Dom.  Scarlatti, which are not even in sonata-form.

[9] It must be remembered that Corelli spent some time in Germany between 1680 and 1683, the latter being the year of publication of his first sonatas at Rome.

[10] In J.S.  Bach’s 2nd Sonata for Flauto traverso and Cembalo (third movement) there is a return to the opening theme in the second section; also in the Presto of the sonata for two violins and figured bass we have an example very similar to the “Hoboy” sonata of Handel.

[11] Krieger, by the way, studied under Bernardo Pasquini at Rome.