In an earlier article I concluded by saying that I had no hesitation in bracketing Clementi with Beethoven. I also stated that Clementi must have been well acquainted with Beethoven's orchestration.

I made the mistake of not looking at the chronology. Clementi's first symphony was written in 1786. Beethoven's first was written in 1799 and that symphony was in line with Haydn and the early Mozart.

Clementi had a clear idea that a symphony consisted of 4 movements the second of which was slow and the third a minuet and trio. Within each movement the pattern was the same - first theme followed by variations and recapitulation - second theme followed by variations, recapitulation and then a finale combining elements of both themes. He adopted that pattern from the beginning and never varied. That was the pattern which Beethoven followed and reinforced in the bulk of his work.

A Clementi symphony must have sounded alien, even barbaric, to audiences steeped in Haydn's London symphonies and the early Mozart. It was energetic, ingenious and often deployed broad sweeps of loud sound. It was uncompromising in its self confidence, even sometimes violent. It was unlike the genteel refined works of Haydn or Mozart. Beethoven's Eroica symphony had a similar effect on the Viennese.

We know that Clementi went to Vienna and enjoyed great success as a pianist composer. We know that Mozart was fiercely jealous of that reputation and derided him as mechanical and devoid of talent. We know that a competition was arranged between them, organised by Emperor Joseph II, on December 24^th 1781. It was declared to be a draw. We know that a concert took place in the Imperial Palace at which three works by Mozart, Clementi and Haydn were performed. We know that the young Beethoven admired Clementi's piano sonatas and that the two became personal friends. We also know that Clementi held the publishing rights of Beethoven's work in Britain. We also know that Clementi was a teacher with at least one outstanding pupil to his name.

So Clementi was known to both Mozart and Beethoven. His first symphony not only preceded Beethoven entirely but it was also five years before Mozart's 4 great symphonies. The size of orchestra and orchestration of Clementi's symphonies was of a character which has come to be regarded as characteristically Beethoven, but there is no question about who came first.

It would be difficult to argue that Clementi had no influence on the two great acknowledged composers of his day. Mozart included one of his sonata themes in the overture to his Magic Flute. He was feared by the one and admired by the other. It is far more credible to accept that Mozart reacted in his own individual way and that Beethoven recognised a significant example and followed it. That is not to diminish the greatness of either but to discover another, previously hidden star, in the firmament.

Another intriguing question arises. We know the animosity which existed, certainly on Mozart's part, towards Clementi. Much has been made of the contest between Mozart and Salieri. Mozart's position was always precarious. He may well have seen Clementi as the more serious threat.

The question that I would raise is this. Were the 4 great symphonies which Mozart wrote in a white heat in the few months before his death his musical riposte to this new challenging voice on the scene?

He probably did not foresee his illness and death. He almost certainly could see a future in which his pre eminence would be very seriously challenged.

There is a great mystery about Clementi. His earliest orchestral work survived, it seems, almost by accident. In the recent past single copies, long lost, were found in the Library of the US Congress. It is not known how many symphonies or piano concertos were ‘lost'. Four symphonies which he wrote in later life and numbered 1 to 4 were his contribution to the Royal Philharmonic Society which, with others, he founded. It is almost inconceivable, although he had many irons in the fire, that he wrote nothing between these early works and the four symphonies of his later years which had lost nothing of the early drive.

In spite of the quality of his extant work Clementi is almost unknown as a symphonist. One musicologist, writing notes for a recording of his pupil, John Field's, piano works stated that Clementi was the first composer to write exclusively for the piano. Nothing could be further from the truth. How strange if he was, as he is, the precursor to Beethoven and possibly the stimulus for the greatest works written by Mozart.

If there was a plan to foist upon the world a false history of music promoting an unbroken line of development from Bach through Haydn, Mozart, Beethoven, Bruckner, Mendelssohn, Schuman to Brahms and Mahler - all Germanic composers - what an amazing number of people have been engaged. It is almost incredible.

The sidelining of strong musical traditions in England, Italy,  France and Russia has also been involved.

One circumstance which would have destroyed the chain would be recognition of the great symphonist Clementi. As a symphonist he has been suppressed and in general played down. Plan or no plan that is what has happened.

I wonder if even now that history will be revised.