133
The sonata principle
creates a musical
argument that creates
tension and resolution.Coda
Rounds off the movement.Recapitulation
Both themes are replayed,
now both in the tonic key.See also: Scarlatti’s Sonata in D minor 90–91 ■ Haydn’s String Quartet in
C major, Op. 5, No. 2 122–127 ■ “Eroica” Symphony 138–141 ■ Préludes 164 –165CL ASSICAL 1750 –1820
Generally, sonatas were formed of
three or four movements, the first
of which was structured according
to what is now called the Sonata
Principle. This was usually the
longest and most dramatic of the
movements and the one in which
the composer was expected to
demonstrate his dexterity in
musical discourse to move and grip
the audience. Usually a fast, driving
movement, the first movement of
Clementi’s Sonata in F-sharp minor
is unusual in that it portrayed a
slower, more meditative mood of
considerable pathos, distinguishing
it from other works of the time.
A sonata’s second movement
was usually slower, giving the
composer a chance to demonstrate
his finer sensibilities, and often had
songlike sections. In his F-sharp
minor sonata, Clementi goes one
step further: sometimes the treble
has a single line, resembling a
singer’s aria, accompanied by the
light repeated chords found in
operatic string writing. By using
such a technique, Clementi was
perhaps attempting to steal a little
limelight from the opera—the most
public forum for music at the time.Minuet/trio and finale
In four-movement sonatas, it was
then traditional to include a minuet
and trio as a throwback to the
Baroque dance suites, and this
provided a kind of respite amid the
stronger movements—although
Beethoven would soon exchange
this respite for a vigorous “scherzo”
(Italian for “to joke”), whose mood
might range from irony to terror.
The finale was usually lighter in
substance but far more brilliant in
terms of technical display, thus
allowing a satisfying ending for anaudience and often great acclaim
for the performers. In this sonata,
Clementi enjoyed showing off his
technique of playing two passages
a third apart with one hand—a skill
for which he was famous. This was
beyond the ability of amateurs (and
most performers), thereby setting a
seal on this work as a piece worthy
of the concert hall. ■Muzio Clementi
Born in Rome in 1752, Muzio
Clementi came to the notice
of the English patron, Sir Peter
Beckford, at the age of 14.
Taking Clementi to his estate
in Dorset, England, Beckford
sponsored Clementi’s musical
education for the next seven
years. At his debut, Clementi
was possibly the most
accomplished keyboard player
in the world, and he was the
first true piano virtuoso.
In 1780, Clementi began
a two-year tour of Europe,
during which he met Mozart
in Vienna. (While Clementi
was impressed by Mozart’s
“spirit and grace,” Mozart in
turn called him a “charlatan.”)
Back in London, Clementi
became a celebrated composer
and teacher. He was also a
very successful publisher and
piano manufacturer, and he
helped to found the Royal
Philharmonic Society. He
died in 1832 and is buried
in Westminster Abbey.Other key worksBefore 1781 Piano Sonata
in B-flat minor, Op. 24 No. 2.
1800 12 Waltzes for Piano,
Triangle, and Tambourine
1826 Gradus ad ParnassumExposition
Two themes are presented
in two different keys. The first
theme is in the tonic key.The Sonata Principle
Development
The themes are
manipulated, fragmented,
extended, and transformed.US_132-133_Clementi.indd 133 26/03/18 1:00 PM