ent 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--

[Music illustration]

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.

In No. 23 (43) at the end of the last movement, an organ point reminds
us that the full intentions of the composer are not recorded. Thus, in
Clementi's early sonatas at any rate, the interpreter, as in E.
Bach's works, was expected to make additions. In No. 26 (7) the
opening of the theme of the Arietta recalls, and in no vague manner,
the opening of the Finale of Beethoven's Septet. No. 34 (8) is an
excellent sonata; there is considerable freedom in the recapitulation
section. In No. 39 (35) Clementi returns to an old form of sonata:
there are only two movements, a Larghetto and Tempo di Minuetto, and
both in the same key. With sonata No. 41 (32), the first of two
published as Op. 34, Clementi breaks new ground. The idea of
incorporating the subject-matter of an introductory slow movement had
already occurred to Haydn,[82] but Clementi goes to greater lengths.
(It must not be forgotten that Beethoven's "Sonate Pathetique," Op.
13, appeared in 1799; possibly, before Clementi's.) From the opening
characteristic subject of the Largo is evolved the principal subject
of the Allegro _con fuoco_, and there is also relationship between it
and the second subject. In the unusually long development section, a
dramatic passage, evolved from the concluding bars of the Largo, leads
to a slow section in which the opening notes of the Largo are given
out in loud tones, and in the unexpected key of C major (the three
repeated _sforzando_ crotchets remind one of the "fate" notes in the C
minor Symphony); and when the Tempo primo is resumed, the

[Music illustration]

also reminds one of

[Music illustration]

in the same movement of the above-mentioned Symphony. Then, again, in
an important coda the theme is given out in modified, yet intensified
form. In the Finale of the sonata the Largo still makes its influence
felt.