A fun-filled romp through a short Rondo form last movement invites a mood lift of One beat per measure, rather than a rigid progression of 3/8ths counted methodically. In this sense, I’m reminded of Vivace movements (very brisk) from Classical era symphonies that are conducted with a single stroke of the baton, measure by measure to final cadence.

Of interest, is how some measures in the Clementi last movement bond together as one gesture, defying the unitary metrical framing. And long stretches of sixteenth notes first in the secondary key of G Major, and in a return to C Major, prompt the player to “breathe” long lines that are well-paced and spaced. ( Always in conjunction with relaxed arms and supple wrists)

These long-breathed note spreads are best “grouped” with contour, avoiding a flat dynamic. Even where Forte is embedded beneath the very note that ignites a spree, the player will “roll” into the depths of keys, enlisting arm weight transfer without falling percussively on the very first sixteenth. (Such tactile and musical sensitivity avoids an unwanted accent)

The Left hand has a set of rolling broken chords in the first section that must not overshadow the animated treble. Blocking out the bass, in a chord to chord progression before unraveling into triplet strands, is a recommended practicing tool. And keeping the weight of the arm lighter in the bass through these measures provides a desirable balance of voices.

As the work progresses, there will be lighthearted harmonic thirds as bass underpinning that again should not overpower a prancing soprano but instead enrich it with a joyful bounce.

For certain, the impish start of the Vivace with its germinating two sixteenths bonded to two staccato eighth notes suggests a lift of the second repeated eighth note, while collectively, the pair of eighths springs toward a quarter note with a wrist forward response. (While there are no fixed choreographies in shaping lines, this particular gesture with a slight delay toward the longer quarter note, aids the overall “up-swing” of the movement.) This same motif comes back in a shorter form, as a second idea (measure 17) directing itself toward the G Major long spill of sixteenths. (These scale-filled passages return to the home key of C by the movement’s end.) And a flourish of chords in the Treble is the definitive closing with a rise through inversions.

The structure of this finale is compact and easy to understand though the “feel” of One when needed and the “breathing” challenges of keeping a calm, immersive presence through a fast-paced movement afford a valued learning experience. In addition, changing dynamics frequently offers another learning opportunity that encompasses the “feel” of arm weight transfer variations. Being keyed in and sensitive to these physical alterations promote a gradual skill advance.

Finally, slow (behind tempo) practice that is cohesively framed with rhythmic vitality and melodic contouring suggests a pathway to baby step tempo increments. The whole journey surely offers many musical growth dimensions if patience is integrated into the process.