was the best keyboard performer of the middle of the century, and through his remarkable instruction-book (1753-62) exerted a profound influence upon the development of technique. He was also a facile composer, chiefly for instruments (over 200 clavier-solos and 50 concertos, etc., from 1731), as well as many Passions and cantatas, and 2 oratorios. His style differed greatly from his father's, since it concerned itself far more with elegance of outward form than with strength of content, and since he turned to more homophonic means of expression. His genius lay in the application of the rudimentary sonata-form that later was powerfully developed by Haydn. It was the study in 1749 of one set of his sonatas (1742) that gave Haydn his first strong impetus.
Passing mention may be made of Giovanni Battista Sammartini (d. 1774), a choirmaster and organist at Milan, who is said to have written almost 3000 works of all kinds, among which are numerous sonatas, concertos and 'symphonies' (from 1734) that are sometimes called prototypes of Haydn's; and Georg Christoph Wagenseil (d. 1777), a favorite pupil of Fux at Vienna and court-composer and teacher to the royal family there from 1739, an able clavecinist and the composer of many chamber works (from 1740), besides 10 operas, 2 oratorios and some church music, combining manners derived from Leo, Hasse and Rameau.
As the middle of the century approached there was a notable increase of production in chamber music, indicating a widespread interest in both the harpsichord and the small orchestra. To this movement many composers contributed, though generally in styles so perfunctory and formal that it is needless to specify further names.
141. Literature about Music.—A distinguishing feature of
the literary treatment of musical subjects in the early 18th
century was the persistent and fruitful attempt to reach a
sound theory of harmony on the basis of physical facts inductively
studied. The critical spirit of the age was actively
displayed in the domain of acoustics, which then assumed its
modern form. Out of the acute investigation of the physical
basis of music came new conceptions of intervals, tonality and
chord-building which are the nucleus of all present theory.
Many manuals of composition continued to be put forth in larger
or smaller shape, more and more conforming to these fresh ideas
and tending to push harmony into the place of supremacy
formerly held by counterpoint. Another significant feature of
the time was the rise of criticism as a distinct line of effort,
though its principles were not yet systematized or its spirit made
judicial. Significant advances were also made in the way of
encyclopædic compendiums, like dictionaries, and of valuable
historical studies, with a few essays in biography. All these
