Note 110 — MUSICAL OBSERVATIONS.[109]

In like manner, Clementi has characterized his grand Sonata, No. 3, Op. 50. Having taken his ideas from the History of Dido, he illustrated his composition by the superscription:—"Didone abbandonnata—Scena tragica;" and besides, in the course of the work, not only the different movements, but also single passages, are rendered intelligible by particular superscriptions. It is truly unpardonable that this noble work, deserving to be ranked on a level with Beethoven's Sonatas, should be unknown to most of the pianoforte players of the present day. In the judgment of modern musicians and dilettanti, Clementi belongs to the old school; but I may here take the opportunity of recording Beethoven's opinion of him. Among all the masters who have written for the pianoforte, Beethoven assigned to Clementi the very foremost rank. He considered his works excellent as studies for practice, for the formation of a pure taste, and as truly beautiful subjects for performance. Beethoven used to say,—"They, who thoroughly study Clementi, at the same time make themselves acquainted with Mozart and other composers; but the converse is not the fact."