ably sustained movement, and, at moments, the composer rises to
the height of his argument. It is interesting, too, from a technical
point of view, for there is no empty display. Whatever degree of
inspiration may be accorded to the music, it will surely be
acknowledged that the composer was full of his theme; that all his
powers of head and heart were engaged in the task of illustration.
This "Dido" sonata, of course, suffers if compared with those of
Clementi's great contemporary; and some of the writing is formal and
old-fashioned, and, at times, too thin to attract the sympathy or to
excite the interest of pianists of the present day, who enjoy the
richer inheritance of Beethoven, the romantic tone-pictures of
Schumann and Brahms, the fascinating miniatures of Chopin, and the
clever glitter of Liszt. Still it does not deserve utter oblivion.
Hear what Fr. Rochlitz says of it in the _Allg. Mus. Zeit._: "It (the
sonata) is indeed a tragic scene, one so clearly thought out and so
definitely expressed, that it is by no means difficult--not only in
each movement, but in its various divisions--to follow literally the
course of changing feeling which is here developed."

Schindler, with regard to the work, also remarks as follows: "Who
understands nowadays how to interpret this musical soul-picture
(written unfortunately in old stereotyped sonata-form!)? At best,
glancing hastily over it, a pianist carelessly remarks that the
poetical contents of this sonata are only expressed in the title." And
again: "In the year 1827, at Baden, near Vienna, Clementi gave me
details respecting the contents and interpretation of this tone-poem.
A new edition of the work by J. Andre of Offenbach enabled me to
insert a preface with the explanations of the veteran master."[84] And
further, as a tone-picture expressing states of the soul, he knows "of
no other work entitled sonata more worthy of a place beside those of
Beethoven."

II. Johann Ludwig Dussek

This composer comes next to Clementi, in order of time, and, we may
add, of merit. His natural gifts really exceeded those of Clementi;
but the latter made a deep study of his art, and also of the
pianoforte, to which, indeed, like Chopin, he devoted his whole
attention. Dussek was fond of ease and pleasure, and never developed
his powers to the full. It may be noted that both these celebrated
pianists were connected with English music-publishing houses. Clementi
prospered, though no