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It is worth noticing that the "sighing figure" may be traced in the other two movements of the sonata. The next sonata, No. 10 (44), has three movements, all in the same key; the Trio of the Minuet is in the key of the subdominant. In the first movement may be noticed the extension of a phrase by repetition (pp) of its last two notes, a feature often to be met with in Beethoven (see, for instance, the first movement of the "Appassionata," development section).
The piano phrase in the Rondo of No. 11 (45), before the organ point and the pause bar, is striking. No. 14 (2) is interesting. The broken octaves at the end of the exposition section, and the return by ellipsis to the principal theme, call to mind passages in Beethoven's Op. 22 and Op. 109. Sonata No. 16 (4) has a delightful first movement; the evolution of the second subject from the first deserves attention. In No. 18 (51) there is one point to notice. The key of the first movement is in F, but the principal theme in the recapitulation section appears in E flat; the second theme, however, according to rule, in the tonic.
Sonata No. 19 (52), in F minor, demands more than a passing word. Our readers will, perhaps, be tired of our noticing foreshadowings of Beethoven, yet we must add others here. We can assure them, however, or rather those who are not familiar with Clementi's sonatas, that the passages to which we call attention only form a small proportion of those to which we might refer. The first movement (Allegro agitato) is concise; there is no padding. Every bar of the exposition section may be termed thematic. The second subject, in the orthodox relative major, is evolved from the principal theme. And the latter descends, but the former ascends—a true Beethoven contrast. The coda to the first section, with its working of a thematic figure in augmentation, forms a striking feature. At the close of the development section a long dignified dominant passage seems a preparation for the return of the principal theme, but the composer has a surprise; after a pause bar, the second theme appears, and in A flat. A modulation soon leads back to F minor, and quite in Beethoven fashion—
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and the exposition coda is repeated in extended form. In the next movement (Largo e sostenuto) sombre tones still prevail; the key is that of the dominant minor. There is evident kinship between the first and last movements; of this the opening bar of the former and the closing bars of the latter offer signal proof.