By Edward Scriven - http://www.portraitindex.de/documents/obj/33425620, Public Domain, https://commons.wikimedia.org/w/index.php?curid=46582128
Allegretto First movement from Sonatina in G, Op. 36 No. 2 Clementi Grade 4 1999-2000 & 2017-2018
Character/story of the piece – the ABRSM book of Clementi Sonatinas Op. 36, 37 and 38 is edited by Kendall Taylor. In the introduction he makes some excellent observations concerning Clementi’s life and compositions. Taylor states that had a significant impact and influence on the development of the writing style for the piano and on piano technique. It seems that Clementi was the first to realise that the piano, with its improvements in its mechanism meant that the piano became the preferred instrument in comparison to the harpsichord. Clementi, at the age of 9, won an appointment as an organist. He studied in London, performing in public after studying for four years. Clementi also performed in Europe and was also a teacher and a conductor but in 1810 he returned to London where he lived for the rest of his life. In later years he discontinued performing but devoted his energies to composing and manufacturing pianos.
Clementi’s composition style evolved over the years. Kendal has this to say ‘in his early compositions Clementi’s style though technically brilliant was somewhat mechanical and devoid of feeling, but in 1781 he had a meeting with Mozart which considerably altered his whole outlook. After this meeting he spoke always with the greatest admiration of Mozart’s exquisite taste; he changed his own style both of playing and of composition and endeavoured to put more warmth and feeling and less mechanical show into his work in both spheres. That this change of style was successful is shown by the fact that Beethoven came to have a great admiration for his work and placed his sonatas in the front rank of artistic treatment in the newly popular instrument, the pianoforte. Beethoven avows that he learnt much from them, and also admired them for their freshness of spirit and for their concise and logical form’.
Taylor comments that ‘for the student the Sonatinas in this edition are first-rate examples of that style of work that Beethoven admired, and for the student they give the opportunity to show beautiful singing tone, clear sparkling finger work, crisp rhythms etc., and to show by intelligent phrasing and considered relationships of phrases and sections how compositions constructed in the classical sonata form can be tastefully and effectively presented’.
In Jane Magrath’s excellent book ‘The Pianist’s Guide to Standard Teaching and Performance Literature’ she reinforces what Taylor has stated by saying ‘Clementi is considered to be the originator of the modern etude and the founder of the modern legato school of piano technique. He had a great influence on Beethoven, especially in the use of sforzando’. Magrath informs the reader that Clementi published many editions of these sonatinas. He published his sixth one in 1820 and this edition made many changes ‘including the use of higher octaves, and the thickening of textures. Clementi’s first edition of the Sonatinas, not the sixth, is the one in almost all anthologies and collections’.
Regarding this sonatina in question, she states ‘perhaps the most accessible in this set after Op. 36 No. 1. The first movement provides a fine opportunity to work on inflection of two-note slurs and short motives’.
Considering that this movement is in sonata form the player could think of particular instruments playing the themes present in the music. It is interesting to note that the first theme projects a more relaxing character; this contrasts well with more energetic theme that is introduced in bar 8. Another thought is for the player to think of different characters inhabiting the themes, with the first theme portraying a person who is diffident and unsure as to what they wish to do. The second character is positive and assertive by contrast; the momentum of the theme helps to portray this. In the development section these two themes are juxtaposed which contributes to a degree of unease and uncertainty. The recapitulation contains similar material to the exposition, which of course is unsurprising.
Form – as already discussed, this movement is in sonata form. Clementi commences the movement in G major with a modulation to D major by bar 8. The remainder of the exposition is in D major. There is a sudden movement to A minor at the start of the development, G major’s related minor. By bar 32 the music is in D major and there is a return to G major at the start of the recapitulation, this is the key the music remains in for the rest of the piece.
Main part of the music – this should occur in the penultimate bar at a forte level however the player must be conscious that this music was written during the Classical period, so the dynamics should have a feeling of restraint and moderation. Each section should have a main point of interest with the exposition’s occurring at the end of bar 18 and the development’s occurring in bar 24 where there is a fz marked.
Phrasing – Clementi’s use of phrasing in this piece is interesting and effective. The first two phrases balance each other, with the second phrase effectively ‘answering’ the first phrase. These phrases are four bars long, commencing with a quaver upbeat. In the remainder of the exposition the phrases vary in length, the third and fifth phrases are four bars long with the fourth phrase six bars in length. A degree of tension is added to the music with the last two phrases of the exposition commencing on a crotchet upbeat. Following this there are two phrases in the development section, the first one is four bars long however the second phrase is considerably longer being nine bars long. There is a feeling of suspension projected in this phrase; the listener is unsure of what is coming next. The phrasing in the recapitulation is varied too, there are four phrases, in order they are four bars, four bars, six bars and nine bars long.
Tempo, time signature and rhythmic patterns – a suitable tempo for this piece is 100 crotchet beats per minute. Clarity of the semiquaver patterns is vital; the music must never feel rushed or breathless in any way. Too fast a tempo could result in some unevenness in the rhythmic and scalic patterns but by contrast, too slow a tempo will result in the music sounding dull and labourious. It is intriguing to note that Clementi wrote this movement in duple time rather than quadruple time. There are occasions in the music where it feels as if some of the bar lines have been removed. This piece does not contain any rhythmic patterns that could potentially cause concern for the player however there is a danger that some of the quaver notes, such as in bar 22, could be played too quickly. The rests must be clearly shown; often they are placed at the end of a phrase to clearly delineate the end of one phrase and the beginning of the following phrase.
By Self-scanned - Muzio Clementi (1752–1832): Preludes and Exercises = 2nd part of Introduction to the Art of Playing on the Piano Forte Op. 42, edited by Carl Eschmann-Dumur (1835–1913), Ernst Eulenburg, Leipzig (no year; published no later than 1904, compare review in Zeitschrift der Internationalen Musik-Gesellschaft 1903/1904, p. 338), Public Domain, https://commons.wikimedia.org/w/index.php?curid=75022799
Touch/articulation – throughout this piece the L.H. should be played with a delicate, slightly detached touch with the exception of bars 30 and 31 which need to be played legato. The R.H. two- notes slurs are a feature of the piece, with many providing a feminine ending to a phrase. These two-note slurs need to be played with the first note sounding louder than the second. In the L.H. in bars 26 – 28 Clementi has written the two-note slur over the bar line. The R.H. upbeat quavers should be played in a detached manner as well as those quavers in the R.H. that are not part of any two-note slurs. The R.H. semiquaver patterns need to be played legato. In some instances, the R.H. top notes need to be highlighted in the chordal patterns. The R.H. semiquaver patterns must be played legato however with a lightly intense and sparkling touch.
Balance between the hands - clearly the balance between the hands in this piece is to the R.H. however the L.H. never takes on a subservient role, rather its role is one of support harmonically as well as helping to provide the momentum. There are moments where the L.H. takes on a supporting melodic role, for example in bars 7 and 8. In bars 24 and 29 the L.H. be highlighted considering the melodic patterns it is playing. In some instances, the L.H. must be played with a degree of resonance. In bars 10 and 12, for example, focus should be on the L.H. considering what it is playing.
Dynamics – as already mentioned the dynamic levels used in this piece must be in the context of the Classical period, and never harsh or strident in any way at all. The application of the fz present in bars 2, 24, 38 and 42 must be thought in relation to the dynamics of the phrase they are present in. A wide range of dynamics can be employed in this piece from pianissimo to forte. Any areas that are repeated must have a change in the dynamics so that the listener is provided with interest.
Considerations when playing this piece –
· The player must think about the tone-matching required when playing any notes after a long note, such as the R.H. dotted crotchet in bar 2.
· In most cases there is movement between the phrases, with the exception being at the end of the development.
· There should be a rit at the end of the piece however this should not be excessive.
· There should be no accent placed on the high notes and the highest notes of a phrase should not necessarily be the loudest.
· There are a few ‘tricky’ corners where the player must consider where they need to concentrate.
· The co-ordination required in bars 10 and 46 could provide concern for some players.
· When Clementi moves the music up an octave in the R.H. in bar 14 the player must consider how this affects the character of the music.
· The player must consider the dynamic level of the notes that are played by the thumb.
· In bars 16, (and others) the R.H. should not be lifted off too abruptly.
· Notice the placement of the R.H. arpeggiated chord in bars 12 and 54.
References
Clementi Sonatinas Op. 36, 37 and 38, The Associated Board of the Royal Schools of Music published 1951.
The Pianist’s Guide to Standard Teaching and Performance Literature Jane Magrath, published by Alfred Publishing 1995