and the exposition coda is repeated in extended form. In the next movement (Largo e sostenuto) sombre tones still prevail; the key is that of the dominant minor. There is evident kinship between the first and last movements; of this the opening bar of the former and the closing bars of the latter offer signal proof.
In No. 23 (43) at the end of the last movement, an organ point reminds us that the full intentions of the composer are not recorded. Thus, in Clementi's early sonatas at any rate, the interpreter, as in E. Bach's works, was expected to make additions. In No. 26 (7) the opening of the theme of the Arietta recalls, and in no vague manner, the opening of the Finale of Beethoven's Septet. No. 34 (8) is an excellent sonata; there is considerable freedom in the recapitulation section. In No. 39 (35) Clementi returns to an old form of sonata: there are only two movements, a Larghetto and Tempo di Minuetto, and both in the same key. With sonata No. 41 (32), the first of two published as Op. 34, Clementi breaks new ground. The idea of incorporating the subject-matter of an introductory slow movement had already occurred to Haydn,[82] but Clementi goes to greater lengths. (It must not be forgotten that Beethoven's "Sonate Pathétique," Op. 13, appeared in 1799; possibly, before Clementi's.) From the opening characteristic subject of the Largo is evolved the principal subject of the Allegro _con fuoco_, and there is also relationship between it and the second subject. In the unusually long development section, a dramatic passage, evolved from the concluding bars of the Largo, leads to a slow section in which the opening notes of the Largo are given out in loud tones, and in the unexpected key of C major (the three repeated _sforzando_ crotchets remind one of the "fate" notes in the C minor Symphony); and when the Tempo primo is resumed, the
in the same movement of the above-mentioned Symphony. Then, again, in an important coda the theme is given out in modified, yet intensified form. In the Finale of the sonata the Largo still makes its influence felt. Exception may perhaps be taken to the length of the first movement, and to the prominence throughout the work, of the principal key; but the evident desire of the composer to express something which was inwardly moving him gives great interest to the music.