1st movement of Sonatina Op. 37 No. 2(Muzio Clementi)

Clementi (1752-1832) was a pianist, teacher, piano manufacturer and composer of the Classical period. (Other composers from this period include Haydn, Mozart and Beethoven). He was born in Italy but later moved to England. He composed sonatas, sonatinas and studies for piano, as well as symphonies and chamber music.

A Sonatina is a composition for one or two instruments in several short, contrasting movements. Clementi’s Sonatinas usually contain three movements, although this one contains only two. The first movement is in Modified Sonata Form, in D major.

Exposition (b.1-42) - themes introduced in tonic and dominant keys.

b.1-13 First Subject, D major. A robust theme, modulating to A major in b.12.

13-22 Transition, all in A major (dominant), ending with an imperfect cadence.

23-42 Second Subject, A major. A more lyrical theme, ending with a perfect cadence.

Development (b.43-74) - themes reworked in various keys.

43-54 Based on the first subject, transposed into the dominant key at first, then modulating to D major (b.50) and E minor (b.54).

55-58 Based on the first part of the transition theme, in E minor then B minor.

59-65 Arpeggio and cadence figures in B minor, ending with a perfect cadence.

65-74 A new theme, leading to a return of the second part of the transition theme in D major (b.69), ending with an imperfect cadence.

Recapitulation (75-94) - partial return of themes, now all in the tonic key.

75-94 First Subject is omitted. Second Subject is now in the tonic key.

The form of this movement is “modified sonata” because the first subject is omitted in the recapitulation. It is similar to the form used by Scarlatti in his sonatas, and could also be described simply as binary (1-42, 43-94).

The grace notes in this movement are appoggiaturas. There are trills at many of the cadences.

Allegro assai means very fast.

The classical characteristics of this piece include:• light, elegant style.• short, balanced phrases, often based on scales or broken chords.• simple chordal or broken chord accompaniments.• modulations to closely related keys.• emphasis on formal structure and thematic development.

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