d
Beethovenish. The 3rd sonata reminds us in many ways of the Bonn
master. In the opening Allegro there is a sighing figure--

[Music illustration]

which plays an important part throughout the movement, and therefore
gives a marked character to it. In the development section the bold
contrasts, the powerful chords, the sighing figure in augmentation,
all point to Beethoven. And, curiously enough, the principal theme,
which now appears in major (the sonata is in G minor), reminds one
very strongly of the "Eroica"--

[Music illustration]

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 developm