Muzio Clementi

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Muzio Filippo Francesco Clementi (23 January 1752 – 10 March 1832) was an Italian-born English composer, pianist, pedagogue, music publisher, editor, and piano manufacturer. He was encouraged by his father to study music by his father, but he was sent by Sir Peter Beckford to England to advance his studies.

He toured Europe several times from his long-base in London.

In 1781, he was one of those rare occasions when he played in a piano tournament with Wolfgang Amadeus Mozart. Clementi, Johann Baptist Cramer, Haydn's classical school, and Johann Christian Bach and Ignazio Cirri's stile galante, influenced by Domenico Scarlatti's harpsichord school and Haydn's classical school, Clementi's stile galante, he passed on a generation of pianists, including John Field, Johann Baptist Cramer, Ignaz Moscheles, Johann Nepomuk Hummel and Carl Czer, influenced by Domenico Chunger, Ignane, Gia, Johann Christian Bach and Ignazio Cirri's, Cirri

He had a major influence on Ludwig van Beethoven and Frédéric Chopin. Clementi has also produced and promoted his own brand of pianos, as well as being a well-known music publisher.

Many compositions by Clementi's contemporaries and older artists have stayed in the repertoire due to this popularity.

Despite the fact that Clementi's fame was only enhanced by Haydn and Beethoven in his day, his resuming in the 19th and 20th centuries persists.

Life

Muzio Filippo Filippo is a celebrity who was born in Rome, Italy, on January 23nd, 1752, and baptized the following day at San Lorenzo, Damaso. He was the eldest of the seven children of Nicol Clementi (1720-1789), a silversmith, and Madalena (Magdalena Kaiser), a Swiss. Nicol soon understood Muzio's musical abilities and arranged for private musical instruction with Antonio Baroni, the maestro di cappella at St. Peter's Basilica.

Clementi began training in figured bass with the organist Cordicelli, followed by voice lessons from Giuseppe Santarelli at the age of seven. He was probably taught counterpoint lessons by Gaetano Carpani a few years ago, perhaps when he was 11 or 12. Oratorio de' gloriosi Santi Giuliano e Celso, a mass, and an oratorio by the age of 13 in Clementi. When he was 14, he became organist of San Lorenzo, Dámaso, in January 1766.

Sir Peter Beckford (1740–1811), a wealthy Englishman, nephew of William Beckford (twice Lord Mayor of London and father of novelist William Thomas Beckford, visited Rome in 1766. He was captivated by young Clementi's musical talent and pleaded with his father to bring him to his estate, Stepleton House, north of Blandford Forum in Dorset, England. Beckford also promised to fund the boy's musical education until he reached the age of 21. In return, he was supposed to provide musical entertainment. Clementi lived, performed, and studied at the Dorset estate for the next seven years. Clementi spent eight hours a day at the harpsichord, Johann Sebastian Bach, Carl Philipp Emanuel Bach, George Frideric Handel, Domenico Scarlatti, Bernardo Pasquini, and Bernardo Pasquini. Sonatas WO 13 and 14 as well as the Sei Sonate per clavicembalo o pianoforte, Op. 1.

Clementi's first public appearance as an organist was in 1770. The audience was said to be captivated by his playing, launching one of the period's most popular concert pianist careers.

Clementi was released from his duties to Peter Beckford in 1774. He migrated to London in the winter of 1774-1775, making his first appearance as a harpsichordist in a charity concert on April 3, 1775. He appeared at several public performances in London as a solo harpsichordist, a guitarist, and a harpist, as well as as conductor (from the keyboard) at the King's Theatre, Haymarket, for at least part of this period.

Clementi began a three-year European tour in 1780, heading to Paris, France, where he performed for Queen Marie Antoinette; Munich, Germany; and Salzburg, Austria. On December 24, 1781, at the Viennese court, he accepted to enter a musical competition with Mozart for the entertainment of Holy Roman Emperor Joseph II and his guests. The composers were encouraged to improvise and perform selections from their own compositions. The Emperor has announced a tie diplomatically.

Mozart wrote to his father on January 12th, 1782: "Clementi does well, as far as execution with the right-hand goes." His greatest strength is in his passages in the 3rds. Apart from that, he hasn't got a kreuzer's worth or feeling – in short, he's merely a mechanic. "Clementi is a charlatan, as all Italians," the king wrote in a subsequent letter. He names a work presto but it plays only allegro."

Clementine's impressions of Mozart, on the other hand, were optimistic. Ludwig Berger, a pianist, recalled him saying of Mozart: "I had never seen anyone play with such enthusiasm and grace before." An adagio and several of his extempore versions for which the Emperor had selected the theme and which we were to produce alternately were overwhelming."

Despite later attempts to portray the two as enemies, there are no signs that their meeting was not cordial. Clementi was developing a more virtuosic and flamboyant style at the time, which may have accounted for Mozart's dissimilarity. Op. 58 was one of his pieces he did. A display piece made of parallel thirds, 11 toccata, a display piece made of three separate thirds. Mozart's opinion may have shifted a little later, it seems. The collection of K.500 variations of 1786 "includes a few novel pianistic effects that are new to Mozart's earlier style and that clearly reflect Clementi's influence."

Mozart's B-flat major sonata motifs were used in the opening (Op. No. 24, No. 0 is out of a date. 2) In his introduction to The Magic Flute, he mentions two spells. It was not unprecedented for composers to borrow from one another, and this could be regarded as a compliment. However, Clementi said in subsequent publications of his sonata that it had been published ten years before Mozart's opera, perhaps to indicate who was borrowing from whom—Clementi retained a fascination for Mozart's music, one of which is a piano solo version of Mozart's opera.

Clementi stayed in England from 1783 to the next 20 years, playing the piano, conducting, and teaching. Several of Johann Baptist Cramer's students include Thomas Paul Chipp, Thomas Paul Chipp, Ignaz Moscheles, Johann Nepomuk Hummel, Ludwig Berger (who went on to instruct Felix Mendelsohn) and John Field (who, in his turn, would have a major influence on Frédéric Chopin).

Clementi took over Longman and Broderip in 1798 (then London's most prestigious shopping street), first with James Longman, who left in 1801. From 1806, Clementi had offices at 195 Tottenham Court Road in Tottenham Court Street. On a lithograph, "Music," by W Sharp circa 1830s, the publication line "Clementi & Co. & Clementi, Cheapside" appears.

Clementi also started making pianos, but a fire in Rotten Road on March 20, 1807, resulted in the company's loss of about £40,000. Clementi reached an agreement with Ludwig van Beethoven (one of his top admirers) that gave him full publishing rights to all Beethoven's recordings in England. Beethoven edited and interpreted Beethoven's music, but has been chastised for editorial work such as adding harmonic "corrections" to some of Beethoven's scores.

Clementi, who died in 1810, stopped performing in order to dedicate his time to composition and piano making. He founded the "Philharmonic Society of London" in 1813, which later became the Royal Philharmonic Society in 1912. Clementi was elected a member of the Royal Swedish Academy of Music in 1813.

Meanwhile, his piano business had thrived, giving him a more refined lifestyle. He made important changes in the piano's construction, some of which have since been made standard.

Clementi returned to Europe at the end of 1816 to unveil his latest creations, especially at the Paris Concerts Spirituels. After stopping off in Frankfurt, he returned to London in June 1818. He returned to Paris in 1821 to conduct his symphonies in Munich and Leipzig. In 1824, his symphonies were performed in five of the six performances at the King's Theatre in London.

Gradus ad Parnassum, a keyboard scholar who died in 1826, began a collection of keyboard studies in Paris, London, and Leipzig with the intention of releasing the third volume of the collection simultaneously in Paris, London, and Leipzig. He returned to London in the fall of 1827 after being in Baden and most likely going to Italy.

Johann Baptist Cramer and Ignaz Moscheles in his honour at the Hotel Albion's on December 17th. According to Moscheles' diary, Cristol improvised at the piano on a theme borne by George Frideric Handel. He made his last public appearance at the Philharmonic Society's opening concert in 1828. He retired from the Society in 1830.

Clementi and his family migrated from Lichfield, Staffordshire, to the Earl of Lichfield's Estate, which was rented 'Lincroft House' from Lady Day 1828 to late 1831. After a brief illness, he migrated to Evesham, where he died on March 10th, 1832, at the age of eighty. He was buried in Westminster Abbey's cloisters on March 29, 1832. Three of his pupils were accompanying his body: Johann Baptist Cramer, John Field, and Ignaz Moscheles. Carl was a boy Carl from his mother Caroline (née Lehmann), who died soon after his birth, and others, including Vincent, Caecilia, Caroline, and John Muzio with his wife Emma, were among his five children. Sir Cecil Clementi Smith and Sir Cecil Clementi, British colonial administrators, Air Vice Marshal Cresswell Clementi of the Bank of England, and Marjorie Clementi (1927–1997), a pianist and piano tutor at the Royal Northern College of Music, are among his descendants. Rodolfo Graziani, Marshal of Italy, and Viceroy of Ethiopia during the Fascist period, was connected to the composer through his mother, Adelia Clementi.

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