CLEMENTI

Movement One

Rhythm

• Very metrical and regular.
• Note the unifying rhythm of first subject - repetition.
• Anacrustic rhythm is a structural device.
• The syncopation of the first subject creates a sense of movement and contributes to the expressive effect.
• Note the syncopated 2 note motif in the bass which unifies the whole first movement, it underpins the second subject (bar 22-28). It appears in a very syncopated form in bars 36 to 40. The motive is inverted in bars 44 and 53, 58 to 60, 62 to 64, 66 to 69. It is also used above a tonic pedal in bars 74 to 80.
• Note the athleticism of the semiquaver passages which is typically classical.
• Augmentation.
• Note the gentle quaver rhythm of bar 102. Regular.
• Rhythmic style differences helped to create the contrasts of character.

Melody

• Melodies are often constructed by manipulating 1 or 2 tiny motives.
• Periodic phrase structure.
• Note the motivic integration and development.
• The first subject is entirely diatonic but 'sturm und drang' in style.
• The second subject is in galant style.
• Bars 107-117 contain the only extended lyrical melody but even this is an augmentation of the first subject in the relative major.
• Use of many forms of melodic decoration.
• Especially note:- chromaticism, expressive appoggiaturas, accented passing notes and turns.
• Melodic sequence is much used.
• There is some typically classical figuration e.g. the scalic motion

Harmony and Tonality

• Clear functional harmony.
• Classical cadences e.g. b.49-50.
• But also grinding dissonances and dramatic, chromatic chords (more evident than in any other composer of the 1780s).
• e.g. b.6 - exposed 9-8 suspension highlighted by a sudden forte and followed by
• b.40 - chromatic dim.7
• b.161 - augmented 6
• b. 206-210 - interruption of dim 7 chords.
• Prediliction for pedal points e.g. the movement opens with a tonic pedal, b.22-28 uses an inner pedal, b.74-80 uses a tonic pedal. Note the use of chromatic appoggiaturas for expressive effect e.g. b.146.
• The use of key is structural i.e. there is a relationship between tonality and form.
• G minor and Bb major of almost equal importance.
• There is modulation to closely related keys. Note the development.
• This demonstrates long scale tonal planning.
• Note use of dominant preparation.
• Note the use of a slow rate of harmonic change.
• Within a generally fairly straightforward harmonic idiom there is some harmonic chromaticism:-
• b.7
• b.40, 206 Dim 7
• b.35 dom. of dom.
• b.95,126 chromatic.
• b.123........ chromatic harmony.
• b.161 German 6 .
• b.157 use of tonic minor.

Texture

• Variety of texture.
• Countrapuntal enriching of the basic harmonic texture.
• A wide range of textures, which change quite frequently.
• Texture is used to reinforce expressive effect.
• The tune is mainly on top with an harmonic accompaniment - typical polarisation of melody and bass.
• The density of texture is fairly stable throughout a section but sudden changes of density are used for striking effect.
• Note the cliche galant texture melody plus alberti bass.
• Uses the full range of the late 18th-century piano in a virtuosic manner.
• Note octave doubling of the theme.

Timbre

• Middle register of piano.
• Fairly light for much of the time.
• Some dramatic use of " orchestral" sonority.
• Note bold use of unison.

Other

• Expressive effects.
• Drama.
• Variety of mood in movement.
• Importance of dynamics - wide range.
• Surprise changes.

Possible Answer

Outline the thematic and tonal structure of movement 2

This slow movement is written in abridged sonata form in E flat major. The home key is reinforced at the outset with a tonic pedal which accompanies the first subject. Together with this, in the inner part, there is steady quaver motion. The first 4 notes of this in bar 1, a descending motif (x), turns out, unifies the movement.

Bars 5-12 are the transition which. Motif 'x' is used imitatively in bars 5 and 6 and is also found in bar 9 in the LH, above a dominant pedal, where it pre-echos the 2nd subject. Within the transition (bar 7) there is also a striking diminished 7th a chord Clementi frequently employs in this sonata.

The second subject, bars 13-20 is in B flat major. Motif 'x' is used once again in bar 13 and 17 (on the repeat) coupled with the falling motif on 14 (z). There is no development following the second subject. Instead, Clementi joins the exposition and recapitulation by adding a 7th and a minor 9th to the chord V (bar 20).

The recapitulation (bars 21-46) begins in E flat major but there is an abrupt move to the relative minor (C minor) above a dominant pedal which then falls chromatically (bars 27-29) to reach the subdominant (A flat major). This chromatic 'slither' is replicated in bars 35-38, ending on the dominant of E flat. Clementi again makes use of the diminished 7th (examples being 35 in E flat, and 35 in F minor).

The second subject (bars 39-46 = 13-20 of the exposition) in E flat sees motif 'x' return in both hands together with motif 'z'. The movement ends with the coda in E flat major (bars 46-48).

(Ryan Naylor - March 2000)

CLEMENTI

Movement 2

Melody

• ornate melodies, lyrical, quasi operatic.
• However, also includes motivic integration.
• Underlying the melody is a 4 note descending scale.
• Note the use of motif "z" from movement 1.
• The second subject is made from a combination of motives.
• This movement is primarily melodic.
• Note the use of expressive melodic ornamentation e.g. appoggiaturas.

Harmony and Tonality

• Primary triadic harmony, typically classical.
• However, there is also much use of chromaticism and dissonance.
• Secondary dominant and diminished chords are frequently used.
• Also note the use of dissonant melodic/harmonic devices such as appoggiaturas.
• As in movement 1 there is much use of pedal points.
• Tonality underpins the abridged Sonata form structure.
• Note the "developmental" nature of tonality in the transition section of the recapitulation.

Texture

• Note the use of melody and bass both in octaves, a bare texture much favoured by Clementi.
• Note also the use of parallel 3rds and 6ths doubled at the octave.
• The texture is primarily harmonic.
• However, it is enriched by counterpoint.
• As in the first movement, the texture varies much in density.
• Note the powerful use of thick chords for dramatic effect.
• Note also the varied use of register.

Form

• Abridged Sonata form.
• With motivic integration, all sections are motivically linked.
• Note the use of a motive from movement 1.

Other

• Again note influence on Beethoven in romantically expressive effect.
• Note the changes of dynamic.

CLEMENTI

Movement 3

Possible Answer

Outline the thematic and tonal structure of movement 3.

The finale is in sonata form and in the key of G minor. The first subject (bars 1-8), in the tonic, consists of block chords in the right hand over a running quavers in the bass.

The transition begins in bar 9 with a tonic pedal in G minor. It passes through C minor (bars 13) and a dominant 7th of Bb (14-15) takes the music to that key at bar 16 where the second subject appears.

In the second subject Clementi uses the bass figure of the first subject again. In bars 20-24 the RH writing of the opening is found in the bass, below virtuosi scales. In bars 24-30 there is a cross-phrased theme which can be related to motives in the 1st movement. There is then a repeat of the scalic figure in bars 30-33.

The codetta, from bars 34-40 is in B flat major. The opening bass figure is seen again in the RH, this time inverted, over a tonic pedal.

The development (bars 41-80) uses transition material. From B flat major, it modulates through E flat minor (bar 44) before arriving at A flat minor (bar 50). This key appears as the enharmonic equivalent, G sharp minor. Bars 50-57 restate the opening (1-8) in G sharp minor. Bars 58-66 are a sequential development of the first two bars of the transition, passing through A minor and D minor (65).

At bar 67 Clementi uses the octave quavers, derived from the first subject, but in two-part counterpoint, often in contrary motion. This is then treated sequentially, passing through G minor, E flat major and C minor before cadencing in G minor. There is an imperfect cadence in that key at bar 80

The recapitulation (bars 80-100) incorporates bars 24-34, with added syncopation from bar 90.

The coda from bar 100-end uses the quavers from the 1st subject, now in the RH and in the original form, not inverted as before. This is imitated in the left hand before the movement ends in G minor.

(Ryan Naylor - March 2000)