Clementi, Muzio and Johann Baptist Cramer

Clementi's canon written on the recto in brown ink, on six systems of two staves, with an autograph title and signature at the head ("Canon for the Pianoforte, by Muzio Clementi"), 30 bars; Cramer's canon notated on the verso in dark brown ink, on three systems of two staves, also with autograph title and signature at the head ("Canon for the Piano Forte by J B Cramer"), 16 bars

2 pages, 4to (c.28 x 22.8cm), no place or date [London, before 1820?], inner edge ragged

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Clementi and Cramer were both born abroad. They both moved to England in the early 1770s, and received much of their musical education there. Cramer was taught first by C.F.Abel and later took keyboard lessons from Clementi. They fell out in 1820 over alleged plagiarism by Cramer of a sonata by his teacher. The two pieces are contrasting. Clementi’s canon is a virtuoso moto perpetuo. Cramer’s work was inspired by J.S. Bach, whose music he loved, and which was slowly being discovered in London in the early years of the nineteenth century.