his eye--that he had not had time for a third.

If these sonatas of 1776 be compared with earlier ones (1767), an
immense improvement in the development sections will be observed. In
the earliest but one of the master's sonatas--No. 2 (30)--the whole of
the middle section is in the principal key. No. 4 (Op. 14) has all
three movements connected,--a plan, as we have already seen, adopted
by E. Bach in some of his sonatas. The sonata in question is in the
key of A major. The Allegro ends with an arpeggio dominant chord, and
still in the same bar follows the dominant chord of the relative key
of F sharp minor, leading directly to the Adagio; this movement, in
its turn, closes on the dominant chord of A, the key, of course, of
the final movement (Tempo di Minuetto con Variazioni).

In 1780 six sonatas were published by Artaria, and dedicated to the
sisters Franziska and Marianne v. Auenbrugger. They are Nos. 20 (1),
21-24 (10-13), and 7 (14). No. 20 (1) is a bright little work. No. 21
(10) (C sharp minor) opens with an interesting movement.[75] The
sonata ends with a beautiful Menuetto and Trio, in which the composer
comes very near to Beethoven. The middle movement is a Scherzando, and
thereby hangs a little tale. No. 24 (13) commences with the same
theme. When Haydn sent the sonatas to his publisher he called
attention to this resemblance, and, in fact, requested that it should
be mentioned on the inner side of the title-page. And he added: "I
could, of course, have chosen a hundred other ideas in place of this
one; but in order not to run any risk of blame on account of this
intentional trifle (which the critics, and especially my enemies, will
regard in a bad light), I make this _avertissement_. Or please add
some note of a similar kind, otherwise it may prove detrimental to the
sale." No. 22 (11) has an opening Allegro in Haydn's brightest