200 Dr. Charles J. Hall on 



vocal forms herein show more continuity, development, 

 consistency, and maturity than before, and one of the airs, 

 " The soldier tired," is not only a model of aria form of an 

 advanced order, but it has a splendid trumpet obligate? 

 accompaniment, and is, in fact, as fine an example as many 

 existing of this class of music. Not only do the vocal forms 

 in " Artaxerxes " mark a distinct advance, but in the over- 

 ture (my main point) we also find the older traditions cast 

 aside, and in their stead a clear-cut specimen of modern 

 binary form substituted. In testing a piece for modern 

 binary form, we have fortunately an infallible rule, as 

 applicable to the early and naturally crude attempts in this 

 direction as to the fully expanded form of Beethoven, viz., 

 the presence of a second subject. No amount of fugal 

 exposition will serve, no device of repeating the first subject 

 in the key of the dominant will do; we must find, not a mere 

 episode, but a distinct and separate second subject. Now 

 this we do find in the " Artaxerxes " overture. The initial 

 theme — one of eight bars — commences the work, without 

 preface or introduction of any kind. Eight bars of episode 

 lead us direct to the second subject — four bars repeated — 

 which duly appears in the key of the dominant. Eight 

 bars more, and we reach the termination of the first section. 

 The second section, or "free fantasia" as it is called some- 

 times, occupies 57 bars, and is founded mainly upon the 

 episode connecting the first and second subjects in the 

 first section. The recapitulation, in which both subjects 

 appear in proper order and key, has 37 bars, and thus con- 

 cludes an overture, the claims of which as an epoch marker 

 have, I think, been overlooked. This crucial second subject 

 is not found in the writings of the 17th century composers, 

 which Arne might have studied. He got it neither from 

 Handel nor Sebastian Bach. C. P. E. Bach, though slightly 

 younger than Arne, may fitly be called his contemporary, 

 and to him is generally conceded the title of father of 



