Learn & Play Piano
📖 "Ferdinand Hiller äußerte mir einst gegenüber, daß ein gründliches Studium Clementis unumgänglich sei, wenn man ein tüchtiger pianist werden wolle…"Erlebnisse und Bekenntnisse. Autobiographie eines Gewandhauskapellmeisters
📖 "Les œuvres de Clementi, pour le Piano, doivent former la base d'une bonne et saine Education musicale. Elles sont très-bien écrites, d'un style franc, naturel, et renferment, au point de vue de l'instrument, tout ce qui peut développer, chez les élèves, un doigter correct et un excellent mécanisme."Introduction à l'Art du Piano. 30 Études Prises dans les œuvres des maitres les plus célèbres
📖 "The son of a goldsmith, Muzio Clementi received, as soon as his musical talent showed itself, regular instruction in music, first in piano playing and thorough-bass from a relative, the organist Buroni, afterwards from Carpani and Santarelli in counterpoint and singing. In addition, he had already filled a post as organist since 1761. When fourteen years of age, he caused excitement at Rome by his musical knowledge and skill, and attracted attention by his compositions. An Englishman, Bedford (Beckford) by name, obtained from his father permission to take the boy to England, and undertook to provide for his further training. Clementi lived in the house of his patron until 1770, and distinguished himself as a performer on the pianoforte. Introduced by Bedford, he quickly succeeded in gaining great renown as master and teacher of his instrument. He officiated (1777-80) as cembalist (conductor) at the Italian Opera, and in 1781 made his first tour on the continent, travelling through Strassburg and Munich to Vienna, where he gained honour in a musical contest with Mozart. In 1785 followed a concert tour to Paris. Between these two tours, and afterwards, until 1802, he worked in London with ever-increasing repute, taking a share in the music publishing department, and in the pianoforte factory of Longman and Broderip; and, after their failure, founding a similar business on his own account, in company with Couard, under whose name it still exists. In addition to his mechanico-technical studies for the construction of pianos, he found time to write a series of high-class pianoforte works, and to train celebrated pupils (J. B. Cramer and John Field). In 1802 he went with Field, by way of Paris and Vienna, to Petersburg, and was everywhere received with enthusiasm. Field remained behind, obtaining a lucrative post, but he was replaced by Zeuner. In Berlin and Dresden Ludvig Berger and Alexander Klengel—men who afterwards acquired high fame—associated with them. Moscheles and Kalkbrenner studied for a time under Clementi in Berlin. Clementi married in that city, but lost his young wife before a year had expired, and, deeply distressed, travelled with his pupils, Berger and Klengel, to Petersburg; but he returned in 1810, and went to Vienna, Italy, and afterwards England. With the exception of a winter (1820-21) spent in Leipzig, he remained, for the future, m London, and married for the second time in 1811. He left a large fortune. His principal works are : 106 pianoforte sonatas (of which forty six with violin, cello, flute), also the 'Gradus ad Parnassum,' considered, still at the present day, an educational work of the highest importance: it is everywhere used, and has appeared in many editions. Also symphonies, overtures, a duet for two pianofortes, caprices, characteristic pieces, etc., as well as an anthology of the clavier works of old masters."Dictionary of Music (1896)
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