Muzio Clementi
Sonatina
in C Major, Op. 36 No. 1

ID: 1426

Your ticket to the world of piano sonatas

This sonatina by Clementi is an excellent opportunity to get acquainted with classical sonata form. The Op. 36 sonatinas are numbered in order of increasing difficulty, which means that this one has the most basic “lessons” on classical piano technique. The pianist gets a chance to practice the chords and scales of c major in an easy format, but in a real context of musical artistry. The first movement can be described according to classical sonata form, and has a first theme based on the C major triad plus a descending C major scale, and a second theme in the dominant G major, with more scales and passage work for the right hand. The second part develops the the theme in the minor mode. Finally, the themes are both recapitulated in C major with some interesting variations.

The second movement has a beautiful cantabile melody in F major, with elements of double note playing, and with a broken chord accompaniment. The transition into the final movement is almost seemless but still very contrasting - the broken chords of the left hand continue at more or less the same tempo, but the time signature changes from 3/4 Andante to 3/8 Vivace, and the new material in the right hand is very rhythmical and playful. This movement also has some brilliant, swirling passagework requiring strong, agile fingers, and a loud Coda.

Background

Muzio Clementi wrote over a hundred Sonatas and Sonatinas, of which the opus 36 set, first published in 1797, was by far the most successful - Op. 36 No. 1 especially is known worldwide to virtually every pianist who has advanced to an intermediate level.

Around 1815 Clementi issued a Fifth Edition in which several details (notes, dynamics, tempos, articulations etc) were altered. Many passages were transposed up one octave to exploit the greater range of the evolving piano. However, most current editions are still based on the musical text of the first edition.

Practice & Performance Tips:

I. Allegro
This movement has three sections: an exposition, a development and a recapitulation. It is very important to know where these sections start and end, before you start practicing them.

EXPOSITION
The exposition starts in measure 1 and ends in measure 15. Write the word "EXPOSITION" on the top of m. 1. This exposition, as in many sonatas, has two themes.

The first theme is in the tonic. If you group the notes together in the first measure, they form a C-Major chord. Notice that the notes in this first theme form descending lines.
Circle all the C-Major arpeggios then play them as a chord (blocked) using the correct fingering. Notice that the notes in m. 6 form a C-Major chord but it is inverted!

Circle the rests marked on the bass clef. They are as important as the notes in between them and help one give more rhythmic vitality to their playing. Play the left hand lightly. This bass line should support the melody without overshadowing it.

The second theme is in the dominant (G Major). Make sure that you play the G Major scale in m. 8 and m. 10 with the correct fingering. Notice that the notes in this second theme form ascending lines. When playing these lines, be... Sign up for a Gold membership to read the practice tips.