. The pianoforte sonata ; its origin and development . positionin the last column of al:)Ove table maybe studied with advantage : alater dale of publication does not necessarily imply a more advancedwork. Thus, of the three fine sonatas in the 3rd Collection (allof which are included in the Billow selection), one was writteneighteen, another fifteen, and the third (though first in order ofreckoning), seven years before the date of publication (1781). EMANUEL BACH 103 minor, and dominant. No wonder that such aproceeding surprised conventional minds, and thatthe critics warned Beethoven of the d
. The pianoforte sonata ; its origin and development . positionin the last column of al:)Ove table maybe studied with advantage : alater dale of publication does not necessarily imply a more advancedwork. Thus, of the three fine sonatas in the 3rd Collection (allof which are included in the Billow selection), one was writteneighteen, another fifteen, and the third (though first in order ofreckoning), seven years before the date of publication (1781). EMANUEL BACH 103 minor, and dominant. No wonder that such aproceeding surprised conventional minds, and thatthe critics warned Beethoven of the danger of going his own way. But his predecessor,Emanuel Bach, had also strayed from the peda-gogic path, a narrow one, yet, in the end, leadingto destruction. In the first book (1779), the5 th Sonata (as shown by the whole of the move-ment, with exception of the two opening bars) isin the key of F major, yet the first bar is inC minor (minor key of the dominant) and thesecond, in D minor (relative minor of the principalkey). A llegro. I ii^?^==^i==^:. etc. There were, no doubt, respecters of tonalityalso in Emanuel Bachs day, to whom such freemeasures must have seemed foolhardy. Whilecomposing this sonata Bach was, apparently, indaring mood. The slow middle movement in I04 THE PIANOFORTE SONATA D minor opens with an inversion of the dominantninth, and the Finale in F thus— ^ R ! V ^1=^ J^__^J -^.=^=.=^ -m etc. Of the character of the first section of move-ments in binary form we have already spoken inthe introductory chapter. In the matter of development, the Bach sonatasare in one respect particularly striking; the com-poser seems to have resolutely turned away fromthe fugal style, and in so doing probably found him-self somewhat hampered. Like the early Florentinereformers. Bach was breaking with the past, andwith a mightier past than the one on which theFlorentines turned their back; like them, he, too,was occupied with a new form. Not the music itselfof the first operas,
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