In order to trace the relationship between Clementi and Beethoven, it may be well to state that Clementi in 1783 had published up to Op. 11 (Sonata and Toccata; the Toccata, by the way, is not included in the Breitkopf & Haertel edition; it appeared first, we believe, together with the sonata, in a London edition.  Beethoven’s first sonatas (Op. 2) appeared only in 1796).[79] By 1802, Clementi had published up to Op. 40; in which year Beethoven composed two of the three sonatas, Op. 31, Nos. 1-3.  Between 1820-21 appeared Clementi’s sonata, Op. 46 (dedicated to Kalkbrenner), and the last set of three sonatas in (including the “Didone Abbandonata”) Op. 50.  Beethoven’s sonata in E (Op. 109) appeared in November 1821.  Thus Clementi at first influenced Beethoven, but, later on, the reverse must have been the case.

Breitkopf & Haertel have published sixty-four sonatas of Clementi; and of these, sixty-three are to be found in the Holle edition.[80]

The three sonatas, Op. 2, Nos. 1, 2, 3 (25, 26, 27), have only two movements, and are principally remarkable for their showy technique.[81]

Clementi, of course, was well acquainted with Scarlatti’s music, yet it would perhaps be difficult to point out any direct influence of the one over the other.  In the next three sonatas, Op. 9, Nos. 4, 5, 6 (11, 28, 12), the first and third are most interesting.  In the second, Clementi indulges in his favourite passages of thirds, sixths, and octaves; there is, indeed, a Presto movement, a moto perpetuo for the right hand, in octaves, which, if taken up to time, would tax even pianists of the present day.  The 1st sonata may be noticed for its bold chords, and its sforzandos on unaccented beats, which sound 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).