Clementi: Six Sonatinas, Op. 36
15 sonatinas and movements, free to read, hear and print, in the composer's own order.
Open the sheet music libraryMuzio Clementi published his six Progressive Sonatinas, Op. 36, in 1797, and for more than two centuries they have been the first real sonatas most pianists learn. Each is a classical sonata in miniature: a quick first movement with two themes, a singing slow movement, and a lively finale, often a rondo.
They are in Clementi's order, which climbs steadily: No. 1 in C is for a second year of lessons, No. 6 in D is the longest and asks for real fluency. Nos. 1 and 2 are here complete, Nos. 3 to 6 movement by movement, and every one plays back so you can hear it first.
About the pieces
Sonatina No. 1 Op. 36
Clementi wrote the Op. 36 sonatinas as teaching pieces, and they have been exactly that for two centuries.
Sonatina in C major, Op. 36 No. 1: II. Andante
The slow movement of the first of Clementi's Six Progressive Sonatinas, Op. 36, which have been standard teaching pieces for two centuries.
Sonatina in C major, Op. 36 No. 1: III. Vivace
The quick finale of the first of Clementi's six Sonatinas, Op. 36, pieces that have stayed on the teaching shelf for two centuries.
Sonatina No. 2 Op. 36
From the set of six Clementi wrote to give students real classical form at a size they could hold. Beethoven admired them enough to recommend them to his own pupils.
Sonatina in C major, Op. 36 No. 3: I. Spiritoso
The third of Clementi's six Op. 36 sonatinas opens with a bright march-like theme in C major, full of energy and quick scale runs.
Sonatina in C major, Op. 36 No. 3: II. Un poco adagio
A short, singing slow movement in G major, only sixteen bars long. The right hand carries a gentle melody with small turns and dotted rhythms while the left hand keeps a calm, steady accompaniment underneath.
Sonatina in C major, Op. 36 No. 3: III. Allegro
The finale of the third sonatina is a lively Allegro in 2/4, built on crisp broken chords and running sixteenths that move between the hands. It is cheerful and quick, and a favourite in exams and recitals.
Sonatina in F major, Op. 36 No. 4: I. Con spirito
The fourth sonatina opens in F major and in three, with a bold, spirited theme and plenty of sudden accents marked fz. Triplet runs and two-voice writing make it a step up from the first three sonatinas.
Sonatina in F major, Op. 36 No. 4: II. Andante con espressione
A tender, expressive slow movement in B♭ major. The melody moves in graceful steps over a flowing accompaniment, and the middle passage turns briefly darker before the opening tune returns.
Sonatina in F major, Op. 36 No. 4: III. Rondo
A playful Rondo in F major, Allegro vivace. The cheeky main theme keeps coming back between contrasting episodes, and the piece ends with Da Capo al Fine, returning to the opening section to finish.
Sonatina in G major, Op. 36 No. 5: I. Presto
The fifth sonatina opens with a brilliant Presto in G major. Grace notes, triplet figures and fast broken chords give it real sparkle, and it is one of the most exciting of the set to play.
Sonatina in G major, Op. 36 No. 5: II. Air
An Air in C major, a set of gentle variations on a simple Swiss tune. The melody stays recognisable as the decoration around it becomes busier, with a turn to C minor before the tune returns.
Sonatina in G major, Op. 36 No. 5: III. Rondo
A lively Rondo, Allegro di molto, in G major. The main theme bounces between the hands, with fast scales and crossing hands in the episodes, before a bold ending.
Sonatina in D major, Op. 36 No. 6: I. Allegro con spirito
The last and longest of the Op. 36 sonatinas begins with a graceful D major theme marked dolce, then bursts into energetic scales, broken octaves and repeated-chord accompaniments.
Sonatina in D major, Op. 36 No. 6: II. Rondo
A cheerful Rondo in 6/8, Allegro spiritoso, that closes the whole set. The dancing main theme in thirds returns again and again, with a stormy A minor episode and a trilled ending before the Da Capo brings the opening back to finish at Fine.