Sonatinas are almost always written for educational purposes.  No description, no analysis 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 compass 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 title of sonata we may count certain programme pieces.  Thus, John Christian Bach, or “Mr. Bach,” as he is named on the title-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 title, 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 bass, is decidedly more correct in form than the French of the title-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.