Tempo and Mood

Since it is Presto in 2/2 time, it might be quite fast, but a quarter note tempo of around 150 should be appropriate. The mood, scene, and depiction of this first movement could be likened to a lively conversation in a bustling place. The author perceives this movement as a conversation full of humor. Of course, other interpretations are perfectly fine, but in terms of emotions, 'joyful' would be a suitable feeling to convey. Therefore, extremely slow or heavy performances would diminish the joy, so one should be mindful of this.

Articulation and Ornamentation

Strive for a light performance, strictly adhering to the articulations.

Now, the author believes that the most crucial notes in this piece are the ornaments. Incidentally, try playing this piece from beginning to end without any of the ornaments. It becomes a rather bland, mere conversation, doesn't it? These ornaments are precisely the most important element of this piece. The presence of these ornaments transforms the discourse or character into something out of the ordinary—witty, elegant, playful, coquettish, twisted, or impactful, for instance. Discuss with your students how the presence or absence of ornaments changes the perception of the music.

Character and Specific Musical Details

However, it is by no means a serious or heavy conversation. It feels more like a truly clever and fluent discourse. Even at Presto, it is initially marked "piano dolce." Making the left hand as pp as possible will bring out the lightness.

In addition to these ornaments, for example, look at the first note in the right hand on the first beat of measure 4. This is C#, but since the chord is composed of G, B, D, C# is a so-called non-chord tone. Non-chord tones usually appear on off-beats or weak beats, but Clementi deliberately places this non-chord tone on the strong beat of the first beat. Furthermore, it even has an accent. This also makes for a somewhat unusual narrative. Then, in measure 8, the first note in the right hand on the first beat has a sforzando. Could one perhaps aim for this note and gradually crescendo from measure 5? The left hand in measure 8 features both ascending and descending arpeggios in triplets. This depicts joy.

Sectional Analysis

Consider measures 1-15 as one section, with a new section beginning from measure 16. It starts p, but from measure 18, a crescendo begins, aiming for the whole note A in measure 22, gradually crescendoing the left-hand octaves starting from measure 20 to reach measure 22. This section ends at measure 24. A new section begins from measure 24.

These various sections might represent a song or an instrument; discuss the mood of each section with your students. For example, the left-hand melody from measure 24 could be imagined as a tenor singer, and the left-hand melody from measure 28 as a bass singer.

Development and Recapitulation

In the development section, the mood briefly changes to minor, but brightens again at measure 39. Then, it reaches a climax between measures 46 and 50. This is characteristic Clementi-esque power.

In the recapitulation, from the second beat (off-beat) of measure 62 to measure 66, it's Clementi's magic. He uses borrowed chords, creating the illusion of modulation before returning to the original key. It is a piece filled with joy throughout.