Clementi took lessons in thorough bass from an eminent
organist, Condicelli, and after a couple of years' application he was
thought sufficiently advanced to apply for the position of organist,
which he obtained, his age then being barely nine. He prosecuted his
studies with great zeal under the ablest masters, and his genius for
composition as well as for playing displayed a rapid development. By the
time Clementi had attained the age of fourteen he had composed several
contrapuntal works of considerable merit, one of which, a mass for four
voices and chorus, gained great applause from the musicians and public
of Rome.

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 pheno