Muzio Clementi

Muzio Clementi (* January 23, 1752 in Rome, † March 10, 1832 in Evesham, England) was an Italian composer, pianist and music educator, and also a conductor, piano makers and music publishers.

• 3.1 works for piano two hands
• 3.2 works for piano four hands
• 3.3 Chamber Music
• 3.4 Orchestral works
• 3.5 Vocal Works

Life

Childhood

Mutius Philippus Vincentius Franciscus Xavier Clementi was (probably German origin) born on January 23, 1752 in Rome, the son of the respected silversmith Niccolo Clementi ( 1720-1789 ) and his second wife Magdalena Caisar. The following day he was baptized in the Basilica of San Lorenzo in Damaso. Of his seven children only three survived: Gaetano (1757-1806), who later would become a musician also, Maria Luigia (b. 1759) and Regina (b. 1764).

At the age of six, he received his first music lessons from a relative, the musician Antonio Buroni (1738-1792); then he met with the organist Giovanni Battista Cordicelli, then the castrato Giuseppe Santarelli (1720-1790) and Gaetano Carpani (1692-1785), who was once regarded as the strictest teacher of counterpoint Rome. Clementi was so talented that he was already at the age of nine years was employed as organist and twelve years already composed a four -part mass and the oratory Martyrdom de ' gloriosi Santi Giuliano e Celso WO 1, today unfortunately exist of which only the libretto.

Education in England

The Englishman Sir Peter Beckford (1740-1811) stayed in 1765 and in 1766 in Rome, saw the musical talent of Clementi and took the four- year-olds, with the consent of the parents, having on his country estate in Dorset in south west England. There Clementi was at the request of his patron a thorough education, practiced much Harpsichord, mainly the works of George Frideric Handel, Johann Sebastian Bach and Domenico Scarlatti, and composed the Piano Sonata in G Major, WO 14 and the six piano sonatas Op. 1

1774 Clementi moved to London, where he participated as a pianist and composer in the concert life and led performances of the King 's Theatre.

European concert tour

Encouraged by his successes in the British capital, he embarked on a concert tour abroad. In 1780 he stepped in front of Queen Marie Antoinette in Paris and played in 1781, after he had concerts in Munich and Salzburg, for their brother, Emperor Joseph II in Vienna.

Joseph II also arranged a piano competition with Clementi, Wolfgang Amadeus Mozart, which took place at the Vienna Hofburg on Christmas Eve, 1781. Mozart expressed in January of the following year in a letter to his father Leopold Mozart while disparaging remarks about Clementi, but later used a melody from the Piano Sonata in B flat major Op. 24 No. 2 in the overture to his Singspiel Die Zauberflöte.

Composer and teacher in England

1783 Clementi returned back to England. In the autumn of the same year the composer, pianist, piano teacher and piano maker Johann Baptist Cramer was his student. 1786 Clementi composed the three violin sonatas Op. 15, 1787, the Capriccio for piano in B flat major Op. 17 and the two symphonies Op. 18, 1790, he wrote the Piano Concerto in C Major WO 12, and 1791 emerged the six piano sonatas Op. 25

In 1794, the composer and pianist John Field was his student. 1797 Clementi 6 Klaviersonatinen Op. 36 In the 1790s, had begun to make its mark as a music publisher and piano maker Clementi. 1798, the famous piano construction company " Longman & Broderip " was in " Clementi & Co. " renamed. But under Clementi's leadership, the company not only built pianos, but also published works of all the famous musicians of that time, including works of Clementi.

On the way

With Field Clementi began in 1802 a journey that lasted eight years. First she went to Paris to Vienna, where they visited Joseph Haydn, and Saint Petersburg. His pupils remained in the Russian city, but Clementi traveled on; he went to Dresden, Prague, Zurich, Leipzig and Berlin, where he met Caroline Lehmann, daughter of musician Johann Georg Gottfried Lehmann. He married on 18 September 1804 and then traveled with her to Rome and Naples. On August 8, 1805, their son Carl was born, but died nine days after the birth of Caroline. After this blow Clementi went over Riga and St. Petersburg to Vienna, where he entered into business relations with Ludwig van Beethoven, who truly appreciated his compositions. He then traveled back across Rome and Milan to England or London, where he arrived in the summer of 1810.

Back in England

On July 6, 1811, he married at St. Pancras Church Emma Gisborne, with whom he led a happy marriage and had four children: Vincent, Cecilia Susannah, Caroline and John.

In 1813 he participated in the founding of the " Royal Philharmonic Society ", whose director was appointed. At about this time he met other musicians know: the composer and organist Samuel Wesley, the composer, pianist and conductor Ferdinand Ries and the composer and pianist Friedrich Kalkbrenner.

1801 had the Clementi Symphony in C major, WO 32 composes, 1815, the Symphony in G major, WO 34 1817, he began work on one of his most famous works: Gradus ad Parnassum op. 44, an existing 100 Etudes for piano lessons, which he completed in 1826. 1821, three years after a trip to Paris and Frankfurt, he composed the Fantasia for piano in C major, Op. He undertook 48 His last trip to Leipzig in 1822, where he successfully conducted several concerts in the Gewandhaus. From 1823, the year of the three piano sonatas Op. 50, he remained in England. In June 1824 he was visited by Franz Liszt, 1826, he met the composer, pianist and conductor Ignaz Moscheles know, and in 1829 visited him Felix Mendelssohn Bartholdy.

After many triumphs Clementi eventually moved back with his family at his country estate in Evesham, where he died on March 10, 1832 at the age of 80 years. At his funeral, which took place on March 29, 1832, many people took part, including some of his former students. His grave is located in the south wing of the cloister of Westminster Abbey in London beside the grave of William Shield and Johann Peter Salomon. On the grave stone it is called " The father of the pianoforte ". All the text on the grave stone ( in Südkloster of Westminster Abbey ): " MUZIO CLEMENTI CALLED THE FATHER OF THE PIANO FORTE. HIS FAME AS A MUSICIAN AND COMPOSER ACKNOWLEDGED THROUGHOUT EUROPE PROCURED HIM THE HONOUR OF A PUBLIC INTERMENT IN THIS CLOISTER. BORN AT ROME 1752. DIED AT EVESHAM 1832. "

Reception

Muzio Clementi had a hardly be overestimated influence on younger pianists and composers. Beethoven's piano writing about was based for some time at Clementi style of the 1780s and 1790s. Some of the most successful pianists of the 1820s and 1830s were his pupils. Clementi's piano method Introduction to the Art of Playing on the Piano Forte was considered a standard work; his Sonatinas Op. 36 and the collection Gradus ad Parnassum ( edited again by pianists and pedagogues for general use, so Carl Tausig ) have retained their value today. Known is Claude Debussy's reference to Clementi in his piano suite Children's Corner - the opening piece Doctor Gradus ad bears the name Parnassum.

The Italian composer Alfredo Casella (1883-1947) tried to draw attention to Clementi's symphonic work by machined parts of the four symphonies without opus number, completed and re- compiled. In particular, it was the pianist Vladimir Horowitz (1903-1989), who advocated for the composer Clementi and his best sonatas played in concerts and recording studios. Meanwhile Pietro Spada has submitted a recording of the piano works; by Howard Shelley and Costantino Mastroprimiano there are recordings of all piano sonatas. Worth listening interpretations have also contributed Lilya Zilberstein piano players like Maria Tipo, Andreas Staier and Stefan Irmer.

Works

The designation ". Op " is an abbreviation of the Latin word " opus ", in German " work"; the following information here go back to the most reliable early prints, so do not always agree with the numbering in popular editions match. The term "WHERE " refers to the catalog of works by British musicologist Alan Tyson and is an abbreviation of the words " work without opus number" to German " work without opus number ". The term " Op -sn " eventually refers to the Edizione Nazionale dell'Opera Omnia di Italiana Muzio Clementi, in the nascent Italian international edition of all the works Muzio Clementi; also the Italian word "opera senza numero " means " work without opus number ".

Two-handed piano works

• Sonatas with opus numbers for harpsichord or fortepiano:

• Sonatinas Opus number for harpsichord or fortepiano:

• Other works for harpsichord or fortepiano:

• Textbooks:

Four Hands Piano Works

• On an instrument:

• Two instruments:

Chamber works

• Sonatas for Harpsichord or Forte Piano and Flute or Violin:

• Sonatas for harpsichord or fortepiano, flute or violin and cello (piano trio ):

• Works for Fortepiano, tambourine and triangle:

• Chamber music works without piano:

Orchestral works

• Symphonies with opus numbers:

• Symphonies without opus numbers (all delivered incomplete):

• Other orchestral works:

Vocal works

• Choir with orchestra:

• Solo with piano accompaniment: