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

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also reminds one of

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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.  Exception may perhaps be taken to the length of the first movement, and to the prominence throughout the work, of the principal key; but the evident desire of the composer to express something which was inwardly moving him gives great interest to the music.

The sonata in B minor, Op. 40, is one of Clementi’s most finished productions.  The name of Beethoven must again be mentioned; for depth of meaning, boldness, style of development, and gradation of interest, the music comes within measurable distance of the greater master.  Not only is there no padding, but here the technique serves a higher purpose than that of display; there are no formal successions of thirds, sixths, or octaves, no empty bravoura passages.  The long development section of the first movement, with its bold contrasts, its varied presentation of thematic material, its peculiar mode of dealing with fragments of a theme, and its long dwelling on dominant harmony previous to the return of the principal theme,—­all these things remind one of Beethoven.  This movement is followed by a Largo (mesto e patetico) leading to the final Allegro.  These two are intimately connected; and, moreover, the latter includes reminiscences from the introductory Adagio.  After a brief reference to the Largo, the movement concludes with a passionate Presto coda.  In Mr. Banister’s Life of Macfarren we learn that the latter considered the B minor of Clementi “one of the finest sonatas ever written”; and many musicians will, probably, agree with him.

Of the three last sonatas (Op. 50, Nos. 1, 2, and 3), it must be remembered that when they appeared Beethoven had published up to Op. 106, and possibly Op. 109.  If, then, in some of the earlier Clementi sonatas we spoke of his influence on Beethoven, it is just the reverse here.  Nevertheless, of these sonatas which must have been known to that master, one may have led him to think again of the idea of revealing the poetic basis of his sonatas.[83] Clementi