Muzio Clementi

Biography

Born: January 23, 1752; Rome, Italy   Died: March 10, 1832; Evesham, Worcestershire, England  
Born shortly after Handel wrote his oratorio Jephtha and dead shortly after Berlioz wrote his Symphonie fantastique, Muzio Clementi failed to write anything equal to the originality of those two composers -- or, certainly, equal to the best of his closer contemporaries, Mozart and Haydn. Yet Clementi remains a significant figure for his pioneering work on behalf of the newfangled piano, that percussive, expressive instrument that quickly Read more displaced the harpsichord at the end of the eighteenth century. His full-scale sonatas and small studies exploited the possibilities of the early piano and groomed the technique of early pianists, and led him to be known as "the father of the piano." His influence on Beethoven has likely been underestimated.

Clementi was a child prodigy, with an appointment as an organist at age 9 and an oratorio to his credit by the time he was 12. In 1766 Clementi's father was persuaded to take the boy to study in England, the country that would remain Clementi's base for the rest of his life. In the English countryside the youth undertook a rigid course of studies, emerging in 1773 for a spectacular debut in London as a composer and pianist. Had Clementi matured anywhere else in Europe, he might have limited himself to the organ and harpsichord; but the piano was enormously popular in England, and Clementi furthered his career by capitalizing on the instrument's expanded capabilities. In 1780, he went on tour to the Continental capitals; in Vienna, Emperor Joseph II instigated a friendly musical duel between Clementi and Mozart.

Clementi settled down in London in 1782, dividing his time between teaching (his pupils included Cramer, Meyerbeer, and Field), composing, and performing. In 1799, he co-founded a company that both published music and manufactured pianos. Toward the end of his life he traveled through Europe again and spent more and more time composing; during this time, he wrote several symphonies, but most have been lost. He is mainly remembered for his dozens of piano sonatas, and for his collection of studies, Gradus ad Parnassum (Steps Toward Parnassus), which has been the bane of piano students for two centuries and was parodied by Debussy in the opening movement of his Children's Corner. Clementi was the complete piano man, popularizing the instrument through his own performances, writing exercises to develop young pianists, writing sonatas for mature pianists to play, and manufacturing instruments for their use. Read less
Contemporaries of Mozart - Clementi: Symphonies / Bamert, London Mozart Players
Release Date: 03/17/1994   Label: Chandos  
Catalog: 9234   Number of Discs: 1
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There are 128 Muzio Clementi recordings available.

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Works

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Muzio Clementi


MOST POPULAR WORKS
Sonata, Op. 14, No. 3 in F Minor: I. Allegro agitato
II. Largo e sostenuto
III. Presto
I. Allegro con spirito
II. Rondo: Allegretto spiritoso
I. Presto
II. Air suisse: Allegro moderato
III. Rondo: Allegro di molto
I. Allegretto
II. Allegretto
III. Allegro
I. Allegro
II. Andante
III. Vivace
I. Spiritoso
II. Un poco adagio
III. Allegro
I. Con spirito
II. Andante con espressione
III. Rondo: Allegro vivace
I. Molto adagio e sostenuto: Allegro con fuoco, e con espressione
II. Largo, mesto e patetico - Allegro - Tempo primo - Presto
I. Allegro
II. Allegro assai
I. Presto
II. Larghetto con espressione
III. Allegretto
I. Allegro con grazia
II. Larghetto con espressione
III. Rondo: Allegro spiritoso
I. Largo e sostenuto, Allegro con fuoco
II. Un poco adagio
III. Finale: Molto allegro
Sonata, Op. 36, No. 1, in A: Allegro
Presto
I. Allegro con spirito
II. Adagio e cantabile, con espressione
III. Presto
I. Allegro
II. Andante cantabile
III. Presto
I. Allegro con brio
II. Rondo: Un poco allegro
I. Piuttosto allegro con espressione
II. Lento e patetico
III. Presto
WORKS
I. Adagio. Allegro agitato
II. Adagio sostenuto
III. Allegro vivace. Presto
I. Allegro con spirito
II. Adagio e cantabile, con grande espressione
III. Presto
Sonata, Op. 14, No. 3 in F Minor: I. Allegro agitato
II. Largo e sostenuto
III. Presto
II. Allegro non troppo
III. Allegretto con espressione
IV. Allegretto con moto
VI. Allegro
VIII. Vivace assai
X. Allegro moderato
XII. Allegretto moderato
I. Allegro agitato
II. Largo e sostenuto
III. Presto
I. Largo patetico e sostenuto
II. Allegro, ma con espressione, deliberando e meditando
III. Adagio dolente
IV. Allegro agitato e con disperazione
I. Allegro con spirito
II. Rondo: Allegretto spiritoso
I. Presto
II. Air suisse: Allegro moderato
III. Rondo: Allegro di molto
I. Allegretto
II. Allegretto
III. Allegro
I. Allegro
II. Andante
III. Vivace
I. Spiritoso
II. Un poco adagio
III. Allegro
I. Con spirito
II. Andante con espressione
III. Rondo: Allegro vivace
I. Adagio - Allegro
II. Siciliano: Andante innocente
III. Finale: Vivace assai
I. Allegro molto vivace
II. Adagio: Sostenuto e cantabile
III. Allegro: Canone primo perpetuo, per moto retto - Canone secondo perpetuo, per moto contrario
IV. Finale: Presto
I. Molto adagio e sostenuto: Allegro con fuoco, e con espressione
II. Largo, mesto e patetico - Allegro - Tempo primo - Presto
I. Allegro
II. Allegro assai
I. Allegro con spirito
II. Adagio con espressione
III. Allegro con fuoco
I. Allegro
II. Larghetto
III. Presto
I. Allegro assai
II. Spiritoso
I. Presto
II. Larghetto con espressione
III. Allegretto
I. Allegro con grazia
II. Larghetto con espressione
III. Rondo: Allegro spiritoso
I. Allegro ma con grazia
II. Adagio molto e con anima
III. Allegro molto vivace
I. Allegro
II. Rondeau: Allegretto
I. Vivace
II. Rondo: Spiritoso
Sonata, Op. 26, No. 2 in F-Sharp Minor: I. Piuttosto allegro con espressione
II. Lento e patetico
III. Presto
I. Largo e sostenuto, Allegro con fuoco
II. Un poco adagio
III. Finale: Molto allegro
I. Allegro molto
II. Rondo: Vivace
I. Allegro con spirito
II. Adagio
III. Rondo: Allegretto con spirito
I. Allegro
II. Aria con variazioni: Allegretto vivace
I. Allegro
II. Presto
I. Adagio
II. Allegro con fuoco
I. Allegro con spirito
II. Adagio e cantabile, con espressione
III. Presto
Sonata, Op. 36, No. 1, in A: Allegro
Presto
I. Adagio
II. Allegro con fouco
III. Presto
I. Allegro con spirito
II. Adagio e cantabile, con espressione
III. Presto
I. Adagio molto - Allegro
II. Adagio con molta espressione
III. Allegro
I. Allegro con spirito
II. Cantabile e lento
III. Presto
I. Allegro
II. Andante cantabile
III. Presto
I. Presto
II. Minuetto
III. Rondo
I. Allegro assai
II. Adagio cantabile e con espressione
III. Presto
I. Allegro assai
II. Larghetto
III. Prestissimo
I. Allegro di molto
II. Adagio
III. Rondo: Presto
I. Allegro con brio
II. Rondo: Un poco allegro
I. Allegro
II. Rondo: Vivace
I. Maestoso e cantabile
II. Molto allegro
I. Piuttosto allegro con espressione
II. Lento e patetico
III. Presto
I. Presto
II. Un poco andante
III. Rondo: Allegro assai
I. Allegro assai
II. Un poco adagio
III. Minuetto: Allegretto - Trio
IV. Allegro assai
I. Grave - Allegro assai
II. Andante
III. Minuetto un poco allegro
IV. Allegro assai
I. Larghetto - Allegro vivace
II. Andante con moto
III. Minuetto: Allegretto - Trio
IV. Finale: Allegro vivace - Animato e giocoso
I. Adagio - Allegro
II. Larghetto cantabile
III. Minuetto: Allegretto
IV. Finale: Presto
I. Andante sostenuto - Allegro con brio
II. Andante un poco mosso
III. Minuetto: Allegretto
IV. Finale: Vivace
I. Andante sostenuto - Allegro vivace
II. Andante cantabile
III. Minuetto: Allegro moderato
IV. Finale: Allegro vivace


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