Page 135 - (DK) The Classical Music Book - Big Ideas Simply Explained

CLASSICAL 1750–1820 133

See also: Scarlatti’s Sonata in D minor 90–91 ■ Haydn’s String Quartet in
C major, Op. 5, No. 2 122–127 ■ “Eroica” Symphony 138–141 ■ Préludes 164–165

Generally, sonatas were formed of The Sonata Principle
three or four movements, the first
of which was structured according
to what is now called the Sonata Exposition
Principle. This was usually the Two themes are presented
longest and most dramatic of the in two different keys. The first
theme is in the tonic key.
movements and the one in which
the composer was expected to
demonstrate his dexterity in
musical discourse to move and grip
the audience. Usually a fast, driving Development Muzio Clementi
movement, the first movement of The themes are
Clementi’s Sonata in F-sharp minor manipulated, fragmented, Born in Rome in 1752, Muzio
is unusual in that it portrayed a extended, and transformed. Clementi came to the notice
slower, more meditative mood of of the English patron, Sir Peter
considerable pathos, distinguishing Beckford, at the age of 14.
it from other works of the time. Taking Clementi to his estate
A sonata’s second movement in Dorset, England, Beckford
was usually slower, giving the Recapitulation sponsored Clementi’s musical
composer a chance to demonstrate Both themes are replayed, education for the next seven
his finer sensibilities, and often had now both in the tonic key. years. At his debut, Clementi
songlike sections. In his F-sharp was possibly the most
minor sonata, Clementi goes one accomplished keyboard player
step further: sometimes the treble in the world, and he was the
first true piano virtuoso.
has a single line, resembling a In 1780, Clementi began
singer’s aria, accompanied by the Coda a two-year tour of Europe,
light repeated chords found in Rounds off the movement. during which he met Mozart
operatic string writing. By using in Vienna. (While Clementi
such a technique, Clementi was was impressed by Mozart’s
perhaps attempting to steal a little “spirit and grace,” Mozart in
limelight from the opera—the most turn called him a “charlatan.”)
public forum for music at the time. The sonata principle Back in London, Clementi
creates a musical became a celebrated composer
Minuet/trio and finale argument that creates and teacher. He was also a
In four-movement sonatas, it was tension and resolution. very successful publisher and
then traditional to include a minuet piano manufacturer, and he
and trio as a throwback to the helped to found the Royal
Baroque dance suites, and this Philharmonic Society. He
died in 1832 and is buried
provided a kind of respite amid the audience and often great acclaim in Westminster Abbey.
stronger movements—although for the performers. In this sonata,
Beethoven would soon exchange Clementi enjoyed showing off his
this respite for a vigorous “scherzo” technique of playing two passages Other key works
(Italian for “to joke”), whose mood a third apart with one hand—a skill
might range from irony to terror. for which he was famous. This was Before 1781 Piano Sonata
in B-flat minor, Op. 24 No. 2.
The finale was usually lighter in beyond the ability of amateurs (and 1800 12 Waltzes for Piano,
substance but far more brilliant in most performers), thereby setting a Triangle, and Tambourine
terms of technical display, thus seal on this work as a piece worthy 1826 Gradus ad Parnassum
allowing a satisfying ending for an of the concert hall. ■

US_132-133_Clementi.indd 133 26/03/18 1:00 PM