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 development 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—­

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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