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In this article, I apply William E. Caplin’s theoretical model of formal functions as the modus operandi to study variations to the sonatina genre. In particular, I use Clementi’s op. 36 cycle of six “Progressive” sonatinas to illustrate some of the compositional options available along the evolutionary pathway between a single-themed minuet exposition and that of a mature sonata exposition. Despite the sonatina’s relatively smaller dimension, the variety of loosening features and use of interthematic fusion reveal that the genre is a more captivating topic of study than may have been generally appreciated.Dans cet article, j’applique le modèle théorique des fonctions formelles (formal functions) de William E. Caplin à l’étude des variations de la sonatine. En particulier, j’utilise le cycle de six sonatines « progressives » de l’opus 36 de Clementi pour illustrer quelques-uns des types de composition possibles dans l’évolution entre l’exposition à thème unique d’un menuet et l’exposition d’une sonate mature. Malgré la dimension relativement restreinte de la sonatine, la diversité des caractéristiques informelles et le recours à la fusion interthématique révèlent un sujet d’étude plus captivant que l’on aurait pu le penser d’une manière générale

Clementi’s “Progressive Sonatinas,” Op. 36: Sonata semplice or Mediating Genre between Minuet and Sonata Design?