burlesqued, that they all felt the poignancy of his musical wit,
confessed its truth, and were silent."

Further on the writer mentions the sonatas of Ops. 13 and 14 as
"expressly composed in order to ridicule Bach of Hamburgh"; nay, he
points to the second part of the second sonata in Op. 13 and the whole
of the third sonata in the same work by way of special illustration.

There are many resemblances to E. Bach in Haydn,--notes wide apart,
pause bars, surprise modulations, etc.,--and this is not more
extraordinary than to find resemblances between Mozart and Beethoven;
but the charge of caricature seems unfair. Besides, it is scarcely
likely that Haydn, who owed so much to Bach, would have done any such
thing. It must be remembered that at the date of the _European
Magazine_ in question, E. Bach had not yet published any of the six
Leipzig Collections ("Sonaten für Kenner," etc.), by which he is best
known at the present day.

Of the six sonatas, Op. 13, the first three are Nos. 8 (26), 9 (27),
10 (28) in Pohl's thematic catalogue (_Joseph Haydn_, vol. ii.). The
other three have not been reprinted in modern collections. In the
first three the keys and order of movements are as follow:--

No. 1. Allegro moderato in C; Adagio, F; Finale, Presto.

No. 2. Allegro moderato in E; Andante, E minor; Finale,
Tempo di Menuetto.

No. 3. Allegro moderato in F; Larghetto, E minor; Presto.