MUZIO CLEMENTI
(1752-1832)
Sonatina, Op. 36, No. 1
A GUIDE TO INTERPRETATION
BY COSMO BUONO
Clementi was born in Rome, Italy on January 23, 1752,
the eldest of seven children of Nicolò (1720–1789) and
Madalena. His father encouraged his musical talent and
by age seven he was studying theory, composition,
organ, and harpsichord. He came to the attention of a
wealthy Englishman, Sir Peter Beckford, who was visiting
Rome in 1766. He was so impressed by his talent that he
offered to sponsor Muzio’s musical education in England
until he reached the age of 21.
The young composer would be responsible for providing
entertainment for the nobleman’s estate in Dorset,
England. Clementi lived in England for the rest of his life. He took advantage of this time
for rigorous study particularly of the piano, immensely popular in England, and made a
very successful debut in London in 1773. In 1780, he undertook a concert tour of Europe
which included Paris, Munich, Salzburg, and Vienna. While in Vienna, Emperor Joseph
II decided to put him in a competition with Wolfgang Amadeus Mozart which ended in a
tie. Clementi was also an important teacher and counted John Field, Johann Baptist
Cramer, Ignaz Moscheles, and Giacomo Meyerbeer among his students. His later years
were devoted to composition, and he was an excellent businessman capitalizing on the
popularity of the piano in England by forming his own piano company and publishing firm.
He spent his final years running his businesses and composing. He died on March 29 in
1832 and is buried in Westminster Abbey.
Clementi is sometimes referred to as “The Father of the Piano” as he was among the first
to write exclusively for the instrument. He wrote some 110 compositions for the piano and
an exercise book “Gradus ad Parnassum”. He was championed by Carl Czerny, Frederic
Chopin, and most recently, the great pianist Vladimir Horowitz.
SONATINA IN C MAJOR, OP. 36, No. 1
This delightful work can be studied by a student of elementary to intermediate
advancement, and there is a great deal to learn musically and technically from it.
I would suggest that you begin by studying each hand separately throughout the three
movements to fully acquaint yourself with the details of fingering and rhythm.
FIRST MOVEMENT—ALLEGRO
Begin with a good forte to announce the first theme, one which will give you plenty of
room to make the change to piano on measure 5.
1 2 3 4 5
I think small crescendos and decrescendos on the scales in measures 8, 10, 31, 33, and
the longer passage in measures 12-15, 35-38 would give it an appropriate elegance and
grace. Think carefully about the balance between the two hands; use a curved right hand
finger for a clear melody and one in which you can make dynamic contrasts, and a relaxed
flatter finger for the left with one exception in measure 21-22, where the melody shifts
momentarily to the left hand so reverse this with a curved left hand finger and a flatter
more relaxed right hand.
6 7 8 9 10
11 12 13 14 15
(continued on next page)
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2020 by the Alexander & Buono Foundation, Inc. All rights reserved. 2
28 29 30 31 32 33
34 35 36 37 38
SECOND MOVEMENT—ANDANTE
This serene movement switches key to F Major with one flat. Again the balance of the
two hands is important so keep it to the melody in the right, and lighter in the left. The
trills should begin on the upper note and be measured against the left hand meaning that
there would be two notes in the right hand for each left-hand note. So in measure 3, the
right will play A-G, A-G against the C and E of the left hand and then for the last 2 notes
of the right hand, there is an ending to the trill of F-G so that should come in with the G in
the left hand.
1 2 3 4
The same is true of the trill on measure 25, on the right-hand trill beginning on the A and
trilling down to G.
22 23 24 25 26
(continued on next page)
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2020 by the Alexander & Buono Foundation, Inc. All rights reserved. 3
Regarding dynamics, vary them within each dynamic range so your piano playing can
vary throughout the piece. There are two forte passages at measure 10 and 23.
9 10 11 12 13
Think about which you want to make the most important moment in the movement. I
would use a bit of rubato in this movement to relieve the constant triplet rhythm and to
make the melody expressive.
THIRD MOVEMENT—VIVACE
Back to the key of C Major, the brilliant last movement should be played with joy and a
sense of fun. Enjoy playing vivace (lively) and expressing the delightful carefree mood of
the work. Again, the left hand should be lighter allowing the right to have a full dynamic
contrast and the melody clearly heard.
Clearly distinguish and contrast the piano passage on measures 21-22 with the forte of
measures of measures 19 and 20 and then again in measures 21 and 22 with 23 and 24.
10 11 12 13 14 15 16 17 18
19 20 21 22 23 24 25 26
(continued on next page)
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2020 by the Alexander & Buono Foundation, Inc. All rights reserved. 4
At measure 25, keep your right-hand fingers well curved to bring out the brilliance of the
scale passage in the right hand. The entire movement leads to the final 5 measures
which should be the climactic moment of it. I think a bit of a ritard will give it a conclusive
feeling.
61 62 63 64 65 66 67 68 69
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2020 by the Alexander & Buono Foundation, Inc. All rights reserved. 5
