opening movement (an Andante in sonata form) of the 2nd Sonata of the
Leipzig Collection of 1779 ends with a few bars in canonic form (and
with quaint Bebung effect), leading without break to the following
Larghetto. The next sonata also connects the second with the third
movement. In the above case the change was merely from the key of
tonic major to that of minor; but here the movement is in G minor, and
an enharmonic modulation leads to the dominant of B minor, key of the
final movement. The sonata begins in B minor, and the choice of the
remote key of G minor for the middle movement is somewhat curious.
Sonata No. 4 connects first and second movements; and the third is
evidently meant to follow without pause. It must, however be
remembered that the majority of the Leipzig sonatas do not have the
various movements thus connected. It therefore seems to have been an
experiment rather than a settled plan. Examples of the connection of
movements are also to be found in Nichelmann and J.C.F. Bach. The same
thing may be seen in some of Haydn's sonatas (Nos. 18, 22, etc.),
while Beethoven offers a remarkable instance in his sonata, Op. 57.

The 1st Sonata of the 2nd Collection passes from the first to the
second movement (Allegretto, G minor; Larghetto, F sharp minor) in a
curious manner, by enharmonic means. The last bar has--

[Music illustration]

The quotation is in abbreviated form. The second chord would, of
course, be taken at first as dominant minor ninth on G. The 1st Sonata
of the 4th Collection is not striking as music, and certainly not of
sufficient importance to justify serious inquiry into the peculiar
order of keys for the three movements (G, G minor, and E major).