[76] This Sonata in E flat (Op. 78) was dedicated to Mrs. Bartolozzi, wife of the famous engraver, and to her Haydn also dedicated one in C major, marked as Op. 79,--a bright, clever and showy work, in which the influence of Clementi is sensibly felt. The development section of the opening Allegro, together with the return to the principal theme, is interesting. The Adagio, in the key of the subdominant, is one of Haydn's best, while the final movement (Allegro molto) is full of life and humour. [77] "Clementi is a charlatan, _like all the Italians_" (Letter to his sister, June 7, 1783). [78] It is thirty-five years since the fine one in B minor was performed at the Popular Concerts; and eighteen, since a Clementi sonata has appeared on a Popular Concert programme. [79] The three Sonatas in E flat, F minor, and D, dedicated to Maximilian Frederick, Elector of Cologne, and published at Speyer in 1783, are not here taken into account. [80] In mentioning any of them we shall first give the Breitkopf & Haertel numbers and then the Holle numbers in brackets, so that either edition may be referred to. [81] At the time of their production Dussek was not born, Hummel was still a child, and Beethoven an infant "mewling and puking in the nurse's arms," if, indeed, the Beethovens were able to afford the luxury of a nurse. Even Emanuel Bach had not published any of his Leipzig Collections, neither had Haydn written his best sonatas. As Clementi was not only the survivor of Beethoven, but also his predecessor, a reminder as to the state of the sonata world, when Clementi first entered it, is not wholly unnecessary. [82] London Symphony in E flat, No. 8 (No. 1 in Breitkopf & Haertel _Catalogue_). [83] See p. 187 concerning Beethoven's conversation with Schindler. [84] Schindler, _Biography of Beethoven_, 3rd ed. vol. ii. pp. 223-4. [85] HAMBURGH, _June 12, 1801._ MR. CLEMENTI, MON CHER CLEMENTI,--