The three sonatas, Op. 2, Nos. 1, 2, 3 (25, 26, 27), have only two movements, and are principally remarkable for their showy technique.[81] Clementi, of course, was well acquainted with Scarlatti's music, yet it would perhaps be difficult to point out any direct influence of the one over the other. In the next three sonatas, Op. 9, Nos. 4, 5, 6 (11, 28, 12), the first and third are most interesting. In the second, Clementi indulges in his favourite passages of thirds, sixths, and octaves; there is, indeed, a Presto movement, a _moto perpetuo_ for the right hand, in octaves, which, if taken up to time, would tax even pianists of the present day. The 1st sonata may be noticed for its bold chords, and its _sforzandos_ on unaccented beats, which sound Beethovenish. The 3rd sonata reminds us in many ways of the Bonn master. In the opening Allegro there is a sighing figure-- [Music illustration] which plays an important part throughout the movement, and therefore gives a marked character to it. In the development section the bold contrasts, the powerful chords, the sighing figure in augmentation, all point to Beethoven. And, curiously enough, the principal theme, which now appears in major (the sonata is in G minor), reminds one very strongly of the "Eroica"-- [Music illustration] It is worth noticing that the "sighing figure" may be traced in the other two movements of the sonata. The next sonata, No. 10 (44), has three movements, all in the same key; the Trio of the Minuet is in the key of the subdominant. In the first movement may be noticed the extension of a phrase by repetition (_pp_) of its last two notes, a feature often to be met with in Beethoven (see, for instance, the first movement of the "Appassionata," development section). The piano phrase in the Rondo of No. 11 (45), before the organ point and the pause bar, is striking. No. 14 (2) is interesting. The broken octaves at the end of the exposition section, and the return by ellipsis to the principal theme, call to mind passages in Beethoven's Op. 22 and Op. 109. Sonata No. 16 (4) has a delightful first movement; the evolution of the second subject from the first deserves attention. In No. 18 (51) there is one point to notice. The key of the first movement is in F, but the principal theme in the recapitulation section appears in E flat; the second theme, however, according to rule, in the tonic.