Endowed with boundless energy, he represented the rather rare type of artist who is also a man of practical affairs. He amassed a considerable fortune as a manufacturer of pianos and music publisher. His business activities, consequently, were not dissociated from his artistic pursuits. He made several improvements in the construction of the piano, with the result that the firm of Clementi & Company marketed its products successfully both in England and on the Continent. Clementi’s long career - he lived to be eighty - stretched across a momentous period in the history of music. He was born four years before Mozart, reached maturity while Haydn was doing his most important work, and outlived Beethoven by five years. It was during this time that the piano supplanted the harpsichord as the ideal keyboard instrument for the home, and developed its own style and literature. This was also the period when the piano sonata emerged as the most important form of solo music. Clementi’s varied activities as concert pianist, composer and teacher, piano manufacturer and music publisher enabled him to play an important role at a crucial period in the history of his chosen instrument. In addition he took an active part in the musical life of London. He was one of the organizers of the Professional Concerts, a series that began in 1783 and continued for ten years; and he composed about twenty symphonies, several of which he conducted himself. The last years of his life were spent on his property at Evesham, in Worcestershire, where he died in 1832. His adopted country honored him with a public funeral and burial in the south cloister of Westminster Abbey. Clementi’s life spanned the transition from the classical style of the late eighteenth century to the romantic style of the nineteenth. In certain of his sonatas he caught the accents of a new age, of the more emotional type of expression that came into music in the aftermath of the French Revolution. In many of his works he foreshadows the impassioned style of Beethoven. It should be added that Beethoven greatly admired these sonatas and accorded them a prominent place in his library. They reveal Clementi to have been one of the most important forerunners of Beethoven. The Italian master’s position in history is aptly summed up by the English critic Edward Dannreuther: "Clementi may be regarded as the originator of the proper treatment of the modern pianoforte, as distinguished from the harpsichord. His example as a player and teacher, together with his compositions, left a deep and indelible mark upon everything that pertains to the pianoforte.” Dating from the final years of the eighteenth century, the Sonatinas are classical in the best sense: epigrammatic, fanciful, and full of ideas. One has only to hear them in Sidney Foster’s spirited rendition to realize how varied in mood and nuance these aristocratic little works can be. The Sonatina in C, Opus 36, No. 1, is in C major, one of Clementi’s favorite keys. How clearly one remembers, from the time when one was ten, the lilting arpeggio - like a little fanfare - with which the first movement opens. Marked Spiritoso, this chiseled movement is in alla breve (cut time). The themes are set forth in the opening section, the Exposition. A transitional passage in C minor, eight measures long, leads to a restatement of the material (the Recapitulation). Nothing could be more concise or to the point. The Andante is in F major and 3/4 time, a tender song marked by the restrained lyricism native to the classical style. The finale, a Vivace in the home key of C, in 3/8, is in sonatina form - that is, an Exposition and a Recapitulation without a Development. It provides an appropriately happy ending. The second Sonatina of Opus 36 is in G major. Its first movement, benign in mood, is an Allegretto in 2/4. The opening section passes from the home key of G major to the key of the Dominant, D major. The brief Development begins in the minor and is woven out of motives derived from the Exposition. Then the material is restated, with the necessary shift of the second theme from D major to the home key. There follows an Allegretto in C major, in 3/4 time. It has a gracious dotted rhythm that persists throughout the movement and shows what ease and charm Clementi was able to achieve with the simplest means. The concluding movement, in G, is an Allegro in 3/8, in which we encounter the gay spirit of the classical finale. The first theme contrasts with a second idea in the key of D and then is heard again, making a finely balanced A-B-A form. Opus 36, No. 3 is again in C major. It begins with a Spiritoso in 4/4 - Clementi was fond of spirited movements - that is more amply designed than the first movements of the two preceding works. Striking is the broad downward curve of the opening theme. The fact that both hands are in treble clef gives the music unwonted lightness, an effect enhanced by an abundance of staccato notes in the opening passage. The second theme, in G, contrasts with the first; it is lyrical and marked dolce. A charming codetta rounds off the Exposition. In the transitional passage that follows Clementi turns his opening theme upside down; it sounds as good going up as going down. The second theme is shifted into C major and a brief coda brings the movement to a vigorous close. The slow movement is marked Un poco adagio and is based on dotted rhythm. This is a brief and expressive movement in G major and 4/4 time. It shows off the flowing, song-like melody that was Clementi’s heritage as an Italian. The Allegro in C that concludes the Sonatina has the light-hearted nimbleness that we associate with Haydn’s rondo-finales. The second theme, in G major, contrasts effectively with the opening idea. Then both themes are repeated, the second one being shifted to the home key of C, and a lively coda based on running figures brings the piece to an end. The fourth Sonatina of the set, in F major, is slightly less popular than its fellows. Perhaps its material is not as immediately appealing, although its qualities reveal themselves with familiarity. The structure is similar to that of its predecessors: a striking theme in the home key followed by a transition, then a contrasting idea in the key of the Dominant (the key, that is, five steps above the tonic) ; a transitional passage and a restatement of the material, with the second theme and coda shifted to the home key. Here however the transition between Exposition and Recapitulation is enlarged somewhat. Notable, in the slow movement, is the marking Andante con espressione. Here we are already within the confines of the nineteenth century. Indeed, these measures bring us a foreshadowing of the Beethovenian slow movement. Their quiet eloquence is fully explored in Mr. Foster’s rendition. The Sonatina concludes with a Rondo in F marked Allegro vivace, in 2/4 time. The classical rondo was based on the recurrence of a main theme in alternation with subsidiary material, so that the successive sections formed the pattern A-B-A-B-A or A-B-A-C-A. Since the rondo theme - that is, the principal idea - was to be heard again and again, it had to be bright and catchy. In this particular movement the rondo theme is heard twice in succession, followed by a contracting section and a transition that returns us to the home key, whereupon the rondo theme is again heard twice. The rhythm is based on a triplet figure that demands fleet fingers. Sonatina Opus 36, No. 5 opens with a Presto in 4/4 based on triplets. The first theme, in the home key of G, contrasts with a second idea in D major. Clementi puts this second theme in the bass, as Beethoven was so often to do. The transitional passage between Exposition and Recapitulation is elongated, in this movement, into a full-fledged development section in which the composer reweaves into fresh patterns certain motives drawn from his themes. Then he restates the material, with the second theme as usual shifted from the contrasting into the home key. It is interesting to observe that this movement is conceived on a slightly larger scale than any that had preceded. Throughout, the continuous triplet rhythm acts as a unifying device. There follows an Allegro moderato that is a favorite with pianists old and young: an Air Suisse (Swiss melody) to which the composer was careful to append the adjective "Original.” It is in C major and 3/8 time. Notice the droning effect of the bass, which suggests a hurdy-gurdy, and the enchanting middle section. Third is a Rondo in 2/4, marked Allegro di molto, in G. Clementi succeeds in sustaining interest throughout the movement even though the rondo theme is more striking than the subsidiary material. The theme is heard twice, with a passage of figuration between. There follows a contrasting middle section with an elaborate transition back to the home key, and the rondo theme returns.
@calefonxcalectric
Жыл бұрын
The last Sonatina of Opus 36 is in D major. Its opening movement, an Allegro con spirito in 4/4, shows how spaciously Clementi could handle the sonatina form; this is the longest movement in the set. In his use of contrasting registers and in the florid figuration of the connective passages Clementi achieves a style that is as idiomatic to the piano as Scarlatti’s is to the harpsichord. A rhythmically vigorous theme in D is contrasted with a gently lyrical one in A major, and a broadly designed codetta rounds off the Exposition. The transition to the Recapitulation is expanded into a well-defined section; then the material is restated, with the second theme and codetta shifted into the home key of D. As if to make up for the dimensions of the first movement, Clementi omits the Andante and proceeds directly to the rondo-finale. This is a spirited Allegretto in D, in 6/8 time, based on staccato thirds and running passages that call for a crisp and precise touch. The rondo theme in the home key is repeated immediately, but with variation. A connective passage leads to the contrasting idea in A major, which creates an atmosphere all its own. Then another broadly designed transition brings us back to the opening section. The Sonatinas of Opus 37 and Opus 38 are in two movements. The two-movement form was considered to be especially suitable for amateurs, since it demanded a shorter span of attention. At the same time Clementi’s fine sense of proportion impelled him to make each movement a little longer than he would have done in a sonatina of three movements. Sonatina Opus 37, No. 1 begins with an Andantino in E-flat in 6/8 time. The first theme is a flowing melody that inhabits the expressive world of late Haydn or early Beethoven. The contrasting theme in B-flat shows one of Clementi’s favorite procedures: a bass tone' repeated over and over while the harmonies change above it (what is known as an organ point or pedal point). A few bars of transition lead into the Recapitulation; the material is restated in slightly abbreviated fashion. It is followed by a good-humored Rondo, a Presto in E-flat in which a crisp theme is heard repeatedly in alternation with subordinate material. This kind of finale gives an impression of effortless movement and served to bring many sonatas, concertos and symphonies of the classical period to a happy conclusion. Noteworthy is a passage in which the contrasting theme, originally in B-flat major, is shifted into C minor. Towards the end, of course, we hear this theme and the elaborate coda that follows it in the home key of E-flat. Opus 37 No. 2 is an Allegro assai (very lively) in D major, in alia breve or cut time. It has a forceful opening theme. The transition that follows presents a motive in the left hand against figuration in the right, and another example of organ point. The second theme in A major offers a lyrical contrast to the first and leads into a passage, based on the triplet rhythm of which Clementi was so fond. In the Recapitulation the first theme returns in A major while the second is shifted into the home key of D. A bright coda in triplet rhythm concludes the movement. There follows a Minuet that owes much of its grace to a repeated-note figure in the left-hand part and dotted rhythm in the right. The opening strophe is followed by the ever-present triplets. The middle section of this movement, the Trio, presents a suave melody in G major, at the close of which the Minuet is played da capo without repeats. The third Sonatina, in C major, opens with an Allegro e spiritoso in 4/4 time. The spacious theme announced at the outset promises a movement of ample proportions. A leisure transition is based on triplets, some of which are played against eighth notes in the bass (three against two). The second theme, in G, is surprisingly chromatic for Clementi. Triplets and dotted rhythm mark the ample codetta that brings the Exposition to a close. Clementi here treats the sonatina form with great freedom; he transforms and develops the motives of his first theme in the Recapitulation. The second theme and the codetta are shifted into the home key of C. The Allegro that follows, in C, opens with a highly effective example of an organ point on the Tonic or "do” (C). The movement begins with both hands in the treble, which contributes to the airy impression made by the music. A section in C minor introduces a more somber coloring; but the shadows are soon dispelled with the return to the gracious C major of the opening theme. This is a bigger rondo than we met in the earlier sonatinas. Its contrasting sections follow the pattern A-B-A-C-A and coda. Sonatina Opus 38, No. 1, in G, begins with an Allegro in G. The decisive first theme is followed by a transitional passage on running scales; the second theme in D is in Clementi’s most lyrical manner. In the Recapitulation the first theme, with its decisive repeated chords, is restated in D major; the transitional passage is expanded to include a few measures of triplet rhythm; and the lyrical second theme is shifted into the homa key of G. The Andantino that follows is labeled Tempo di Menuetto. The 3/4 time traditionally associated with the minuet is overlaid with triplet rhythm in the bass, against which the right hand articulates the melody. A modulation to D major ushers in the middle section that contains an interesting foreshadowing of Chopin - one of many such passages in which Clementi anticipates the piano writing of the nineteenth century. Then the opening theme is repeated. Opus 38, No. 2 is in B-flat. In the brusque forcefulness of its opening gesture this movement anticipates Beethoven, as well as in the logic and forward drive of its unfolding. The contrasting theme is in the key of the Dominant, F major; and the codetta, instead of merely rounding off the Exposition, introduces a closing theme. In the Recapitulation Clementi not only restates his ideas but also expands them. The second theme is transposed to the home key of B-flat, as is the closing theme. This movement is followed by a delightful Allegretto in 2/4 that is a worthy descendant of the rondo-finales of Haydn. It is based on two themes that alternate in the pattern A-B-A-B-A, with transitional material between and a decisive coda. The finale work on this recording is the Sonatina Opus 38, No. 3 in F. Here too a broadly molded opening theme promises an extended movement. The second theme and codetta are in the key of the Dominant, C major. A brief development section features triplets, dotted rhythm and trills. The first theme returns in the home key, the second theme and codetta are transposed to F major. The second movement is a Rondo in 3/8 time marked Allegretto. The rondo theme - that is, the principal idea - is heard three times in alternation with subordinate subjects; in other words, this is an A-B-A-C-A form. The writing is crisp, the thematic material clear-cut, the figuration requires agile fingers, and a striking passage based on crossing the hands is reminiscent of that other Italian master of keyboard writing, Domenico Scarlatti. Clementi’s sharply profiled themes bespeak the high classical period, as does his imaginative handling of his material. Noteworthy throughout is Clementi’s affinity for the sonata form. This recording should do much to make his less familiar sonatinas familiar to a wider public than has enjoyed them hitherto. One is grateful for this broader view of the work of a distinguished musician whom his contemporaries rightly named "the Master of the Sonata.” JOSEPH MACHLIS Professor of Music, Queens College of the City University of New York Musical Heritage Society, Inc. (MHS 992/993) 1968
@jaimepelaezsantos2488
10 ай бұрын
A😊ae😊e
@leylinegoddess
3 жыл бұрын
way cool. i remember learning to play these maybe 60 years ago
@juliomarti3628
3 жыл бұрын
Me too, 62 years ago, and i can still play it.
@canman5060
3 жыл бұрын
Not that longer ago for me. 46 years ago !
@maulvimuhammad
3 жыл бұрын
80 years ago and still playing it
@Ayo.Ajisafe
Жыл бұрын
Wow 😭😭 Such long lives full of music. This is very touching. I'm a guitarist that just bought my first piano. I'm researching the first works to study. The classical guitar masters of the same era did a great job of writing pretty didactic pieces for absolute beginners. It's this that I'm searching for on piano. Emphasis on easy, pretty and didactic.
@jayakumarkaarikuzhy4713
3 жыл бұрын
It's really a pity that the maestro and his fine music are not widely known.I also came to know both recently. When I realised that the maestro's music was magnificent my mind told me: "I should have known better, much earlier!".
@stevenlevasee6742
2 жыл бұрын
I feel the same as you. He lived through the Classical period and well into the Romantic (unlike Mozart and Haydn). It's fascinating to hear the development unfold in his music.
@VaggosWho
3 жыл бұрын
Amazing!So funny picture!
@canman5060
3 жыл бұрын
That man fall asleep while listening to his wife playing the piano !
@polinalipp6139
3 жыл бұрын
Прелестноеисполнение
@stevenlevasee6742
2 жыл бұрын
What beautiful, mature playing! Thank you for uploading this. Cheers!
@canman5060
3 жыл бұрын
My childhood piano pieces !
@HeartSoulMindStrngth
2 жыл бұрын
Thank you for uploading. Would you tell us the source of the visual art? The woman's expression is priceless.
@calefonxcalectric
2 жыл бұрын
Hi. ¨Music Has Charms to Soothe the Savage Breast¨ (designed and possibly etched by Thomas Rowlandson, 1757-1827)
@baudobill547
Жыл бұрын
Try to play something to anyone who sleep in the middle of the piece and will be with that same face. To watch movies with sleeping relatives too
@tomarmstrong1281
5 ай бұрын
Charming.
@Rx-mn5fv
2 жыл бұрын
Delightfully refreshing! Thank you.
@eganamustafaeva3415
7 ай бұрын
Çox qözəl! 😍😍😍😍
@alexbo5998
3 жыл бұрын
Not bad, my friend! Big like!
@Enri45100
10 ай бұрын
Immortal pieces. What else can I say?
@magarac99
6 ай бұрын
❤ memories of childhood
@marioescudero7103
Жыл бұрын
Gracias !
@e.de_Haan
Жыл бұрын
@calefonxcalectric Opp. 37 and 38 are actually Opp. 4
@calefonxcalectric
Жыл бұрын
Yes, it is stated in the description: ¨Later editions for piano solo (misnamed Opp.37 and 38) of 6 Sonatas Op. 4, dedicated to Mrs. Phillips (1780)¨. Anyway, the recording was entitled as presented here.
@philippegallo1557
2 жыл бұрын
Superbe ! Dommage les craquements ! Un enregistrement d'époque sans doute ???...............
@44sewo
9 ай бұрын
I didn't know him earlier. I was just like - Oh! Kuhlau?! It's so similar
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