will show that he, too, had his periods of apprenticeship, mastery,
and maturity. Let not our readers take alarm. We are not going to
analyse his thirty-five sonatas, or to enter into minute details. But
we shall try, by selecting some of the most characteristic works, to
show how the master commenced, continued, and concluded.

The earliest of the published sonatas,[73] No. 1 (33), is somewhat of
a curiosity. It consists of four movements: an Allegro in G major; a
Minuetto and Trio, G major and minor; an Adagio in G minor; and an
Allegro molto in G major. It is the only sonata of Haydn's which
contains four movements. The plaintive Trio and the Scarlatti-like
Finale are attractive.

In the year 1774, J.J. Hummel, at Amsterdam, published six sonatas,
the last three of which appear to have been originally written for
pianoforte and violin;[74] and in 1776 six more were printed by
Longman & Broderip as Op. 14. These may serve as specimens of Haydn's
early style; and in them, by the way, the composer was accused of
imitating, nay, caricaturing, E. Bach.

In the _European Magazine_ for October 1784 there appeared an account
of Joseph Haydn, "a celebrated composer of music," in which occurs the
following:--

"Amongst the number of professors who wrote against our rising author
was Philipp Emanuel Bach of Hamburgh (formerly of Berlin); and the
only notice Haydn took of their scurrility and abuse was to publish
lessons written in imitation of the several styles of his enemies, in
which their peculiarities were so closely copied, and their extraneous
passages (particularly those of Bach of Hamburgh) so inimitably