He concentrated more on the piano than any other instrument, and his time in London in 1791 and 1792 generated the composition and publication in 1793 of three piano sonatas, opus 2, which idiomatically used Mozart's techniques of avoiding the expected cadence, and Clementi's sometimes modally uncertain virtuoso figuration.

Among Clementi's compositions the most remarkable are sixty sonatas for pianoforte, and the great collection of Etudes called Gradus ad Parnassum.

However, most of Clementi's sonatas are more difficult to play than those of Mozart, who wrote in a letter to his sister that he would prefer her not to play Clementi's sonatas due to their jumped runs, and wide stretches and chords, which he thought might ruin the natural lightness of her hand.

Clementi's influence extended well into the 19th century, with composers using his sonatas as models for their keyboard compositions.

The most accurate description of Beethoven's regard for Clementi's music can be found in the testimony of his assistant, Anton Schindler, who wrote " He ( Beethoven ) had the greatest admiration for these sonatas, considering them the most beautiful, the most pianistic of works, both for their lovely, pleasing, original melodies and for the consistent, easily followed form of each movement.

Schindler continues with reference to Beethoven's fondness for Clementi's piano sonatas: " For these he had the greatest preference and placed them in the front rank of pieces appropriate to the development of fine piano playing, as much for their lovely, pleasing, fresh melodies as for the well knit, fluent forms of all the movements.

Carl Czerny also had the highest regard for Clementi's piano sonatas and used them successfully in his teaching of Franz Liszt.

Vladimir Horowitz developed a special fondness for Clementi's work after his wife, Wanda Toscanini, bought him Clementi's complete works.

Of Tausig's original compositions and numerous arrangements of classical works the following may be mentioned: Deux Études de Concert, replacing an earlier pianoforte transcription of his symphonic ballad Das Geisterschiff ; Ungarische Zigeunerweisen, a composition for pianoforte ; Nouvelles Soirées de Vienne ; Tägliche Studien, finger exercises of high value ; a selection of studies from Clementi's Gradus ad Parnassum ; a transcription of Bach's Toccata and Fugue in D minor, BWV 565 ; and adaptations of Weber's Invitation to the Dance, and of six Beethoven quartets ; transcriptions of Schubert's Marche Militaire No. 1 in D and of Wagner's Die Meistersinger von Nürnberg, The Ride of the Valkyries, and Siegmund's Love Song.

Clementi's arterial road, Clementi Road, runs for some 5 kilometres, from the vicinity around Bukit Timah, at Jalan Anak Bukit, to the West Coast Highway, but the geographical entity of Clementi is generally regarded as the area dominated by HDBflats around Commonwealth Avenue West and the Clementi MRT Station.

The title of the first alludes to Muzio Clementi's collection of instructional piano pieces, Gradus ad Parnassum (" Steps to Parnassus ").

Clementi's Opus 2 was the first real piano sonata composed.

Doctor Gradus ad Parnassum is a satirical piano composition by Claude Debussy, from his suite Children's Corner, poking fun at Muzio Clementi's collection ( or, as Myriam Chimènes states in the notes to the Arturo Benedetti Michelangeli version, at Czerny's collection ).

Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin.

Of Clementi's playing in his youth, Moscheles wrote that it was " marked by a most beautiful legato, a supple touch in lively passages, and a most unfailing technique.

Also, during Clementi's tenure, Kai Tak Airport entered operation ( it would operate until Hong Kong International Airport entered service in 1998.

He was impressed by the young Clementi's musical talent, and negotiated with his father to take him to his estate, Steepleton Iwerne, north of Blandford Forum in Dorset, England.

Clementi's impressions of Mozart, by contrast, were enthusiastic.

Interestingly, Mozart used the opening motif of Clementi's B-flat major sonata ( Op.

A likely reason that these later works were not published in Clementi's lifetime is that he kept revising them.

While Clementi's music is hardly ever played in concerts, it is becoming increasingly popular in recordings.

Horowitz, who recorded four of Clementi's Sonatas along with shorter pieces, compared some of them to the best works of Beethoven.

The restoration of Clementi's image as an artist to be taken seriously is not least due to his efforts and today to Andreas Staier, Andrea Coen and Costantino Mastroprimiano.

A melody in Muzio Clementi's Symphony No. 3 caught his attention.

Of particular importance were collections of " studies " by Johann Baptist Cramer ( published between 1804 and 1810 ), early parts of Muzio Clementi's Gradus ad Parnassum ( 1817 – 26 ), numerous works by Carl Czerny, and Ignaz Moscheles ' Studien Op.

However, with the late parts of Clementi's collection and Moscheles ' Charakteristische Studien Op.

After Clementi's departure, Field had a busy concert season, eventually performing at the newly founded Saint Petersburg Philharmonic Society.

His student compositions included five drafts for piano sonatas.

He is best known for composing more than five hundred one-movement keyboard sonatas.

He wrote operas, songs, and sonatas for keyboard instruments, for which he is best known today.

Slightly smaller string works with the double bass include six string sonatas by Gioachino Rossini, for two violins, cello, and double bass written at the age of twelve over the course of three days in 1804.

Important from this period are six sonate a quattro, or string sonatas, composed in three days, unusually scored for two violins, cello and double bass.

The original scores, which dated from 1804 when the composer was twelve, were found in the Library of Congress in Washington D. C. Often transcribed for string orchestra, these sonatas reveal the young composer's affinity for Haydn and Mozart, already showing signs of operatic tendencies, punctuated by frequent rhythmic changes and dominated by clear, songlike melodies.

His published compositions consist of preludes, fugues and sonatas for the piano and organ, string quartets, etc.

He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet ( which were subsequently arranged for viola by the composer ).

It was for such instruments that Wolfgang Amadeus Mozart composed his concertos and sonatas, and replicas of them are built today for use in authentic-instrument performance of his music.

During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.

Late in life he wrote two greatly admired sonatas for clarinet and piano, his Op. 120 ( 1894 ): he later transcribed these works for the viola ( the solo part in his horn trio is also available in a transcription for viola ).

In the 17th century, for most of the Baroque period, the terms symphony and sinfonia were used for a range of different compositions, including instrumental pieces used in operas, sonatas and concertos — usually part of a larger work.

Like his renowned father Alessandro Scarlatti he composed in a variety of musical forms, although today he is known mainly for his 555 keyboard sonatas.

Among his compositions during his time in Madrid were a number of the 555 keyboard sonatas for which he is best known.