ome were composed
for educational purposes. But there remain others in which his heart
and soul were engaged, and in these he reaches a very high level. Our
classification is a rough one, for often in those which we consider
his best, there is plenty of showy technique. With the exception of
Mozart's sonata in C minor, and Haydn's "Genziger" and "London"
sonatas, both in E flat, also some of Rust's, of which we shall soon
have something to say, there are, to our thinking, none which in
spirit come nearer to Beethoven than some of Clementi's. Mr. E.
Dannreuther, in his article on the composer in Sir George Grove's
_Dictionary of Music and Musicians_, justly remarks "that a judicious
selection from his entire works would prove a boon."

In order to trace the relationship between Clementi and Beethoven, it
may be well to state that Clementi in 1783 had published up to Op. 11
(Sonata and Toccata; the Toccata, by the way, is not included in the
Breitkopf & Haertel edition; it appeared first, we believe, together
with the sonata, in a London edition. Beethoven's first sonatas (Op.
2) appeared only in 1796).[79] By 1802, Clementi had published up to
Op. 40; in which year Beethoven composed two of the three sonatas, Op.
31, Nos. 1-3. Between 1820-21 appeared Clementi's sonata, Op. 46
(dedicated to Kalkbrenner), and the last set of three sonatas in
(including the "Didone Abbandonata") Op. 50. Beethoven's sonata in E
(Op. 109) appeared in November 1821. Thus Clementi at first influenced
Beethoven, but, later on, the reverse must have been the case.

Breitkopf & Haertel have published sixty-four sonatas of Clementi; and
of these, sixty-three are to be found in the Holle edition.[80]

The three sonatas, Op. 2, Nos. 1, 2, 3 (25, 26, 27), have only two
movements, and are principally remarkable for their showy
technique.[81]

Clementi, of course, was well acquainted with Scarlatti's music, yet
it would perhaps be difficult to point out any direct influence of the
one over the other. In the next three sonatas, Op. 9, Nos. 4, 5, 6
(11, 28, 12), the first and third are most interesting. In the second,
Clementi indulges in his favourite passages of thirds, sixths, and
octaves; there is, indeed, a Presto movement, a _moto perpetuo_ for
the right hand, in octaves, which, if taken up to time, would tax even
pianists of the present day. The 1st sonata may be noticed for its
bold chords, and its _sforzandos_ on unaccented beats, which soun