During his studies of counterpoint and the organ Clementi never neglected his harpsichord, on which he achieved remarkable proficiency, for the piano-forte at this time, though gradually coming into use, was looked on rather as a curiosity than an instrument of practical value.  The turning-point of Clementi’s life occurred in 1767, through his acquaintance with an English gentleman of wealth, Mr. Peter Beckford, who evinced a deep interest in the young musician’s career.  After much opposition Mr. Beckford persuaded the elder Clementi to intrust his son’s further musical education to his care.  The country seat of Mr. Beckford was in Dorsetshire, England, and here, by the aid of a fine library, social surroundings of the most favorable kind, and indomitable energy on his own part, he speedily made himself an adept in the English language and literature.  The talents of Clementi made him almost an Admirable Crichton, for it is asserted that, in addition to the most severe musical studies, he made himself in a few years a proficient in the principal modern languages, in Greek and Latin, and in the whole circle of the belles-lettres.  His studies in his own art were principally based on the works of Corelli, Alexander Scarlatti, Handel’s harpsichord and organ music, and on the sonatas of Paradies, a Neapolitan composer and teacher, who enjoyed high repute in London for many years.  Until 1770 Clementi spent his time secluded at his patron’s country seat, and then fully equipped with musical knowledge, and with an unequaled command of the instrument, he burst on the town as pianist and composer.  He had already written at this time his “Opus No. 2,” which established a new era for sonata compositions, and is recognized to-day as the basis for all modern works of this class.

Clementi’s attainments were so phenomenal that he carried everything before him in London, and met with a success so brilliant as to be almost without precedent.  Socially and musically he was one of the idols of the hour, and the great Handel himself had not met with as much adulation.  Apropos of the great sonata above mentioned, with which the Clementi furore began in London, it is said that John Christian Bach, son of Sebastian, one of the greatest executants of the time, confessed his inability to do it justice, and Schroter, one of those sharing the honor of the invention of the piano-forte, and a leading musician of his age, said, “Only the devil and Clementi could play it.”  For seven years the subject of our sketch poured forth a succession of brilliant works, continually gave concerts, and in addition acted as conductor of the Italian opera, a life sufficiently busy for the most ambitious man.  In 1780 Clementi began his musical travels, and gave the first concerts of his tour at Paris, whither he was accompanied by the great singer Pacchierotti.  He was received with the greatest favor by the queen, Marie Antoinette, and the court, and made the acquaintance of Gluck,