II paskaita:

18 a. pabaigoje 19 a. pradioje ekonomini ir kultrini ryi aktyvjimas

tarp ali sudar galimybes ilgoms ir tolimoms koncertinms kelionms. Tuose
miestuose,

kur

koncertinis

menas

buvo

labiausiai

vertinamas,

atlikjai

pasilikdavo ilgesniam laikui. Taip ikilo muzikos centrai, atsirado Londono ir

Vienos kompozicins mokyklos.
iuose kratuose veik geriausi fortepijon gamybos fabrikai: Austrijoje teino ir treicherio, Anglijoje - Brodvudo. Austr teinai ir treicheriai
isiskyr blizganiu garsu. J klaviatra buvo negili ir lengva,

atspindjo t

met meninius skonius, salonin - virtuozin stili, kupin blizgani virtuozini

pasa.
Londono meistrai kr instrumentus, skirtus didelms salms, kuriose
koncertavo pianistai. Angl fortepijonai skyrsi solidia konstrukcija, dainingu,
sodriu garsu. Klaviatra buvo pakankamai gili.
1781 m. Beieris irado demferin dein pedal: iplt faktros galimybes,
apjung vienalaik vis registr skambjim, praplt instrumento tembrin
vairov.

MUCIO CLEMENTI

(1752 - 1832)

M. Clementi - ital tautybs kompozitorius, pianistas, pedagogas, nuo 14os met gyvens Anglijoje. Jis - Londono kompozicins mokyklos krjas ir
vedlys. Kompozitorius

igyveno 80

met, pergyveno

Haydn, Mozart,

Beethoven, sulauk Chopino, Mendelssohno, Schumanno krybos klestjimo.

M. Clementi krybai dar takos Vienos klasikai, savo ruotu jis taip pat takojo
savo amininkus.
M. Clementi daug koncertavo Vakar Europoje, 1781 m. varsi su
Mozartu

Vienoje

Austrijos

imperatoriaus

Juozapo

II

dvare.

Jam

paliko

neidildom spd Mozarto atlikimo dvasingumas, kvpimas, nuoirdumas ir

prasmingumas. Po io susitikimo Clementi m skambinti melodingiau ir
tauriau, daug dmiau pradjo klausytis ger daininink, taip pat sumaniau
naudotis anglik fortepijon mechanika.

M. Clementi - vienas rykiausi savo laikmeio virtuoz. Amininkai apie j

ra: jo technika labai tiksli, ranka nejudri, tik pirtai kibs, judrs ir
savarankiki,

skambindamas

sugebdavo

pasiekti

nepaprasto

lygumo

(klavesinizmo tradicijos). M. Clementi skambino legato cantabile, jis buvo io

skambinimo bdo pradininkas. Savo atlikimu padjo atskleisti platesn
fortepijono garso spalv gam, ypa kai skambindavo vairius pasaus ir
pagrainimus. Clementi buvo puikus Bacho, Hendelio, Martini, Scarlatti krini
atlikjas.
Baigs

solisto

koncertin

veikl,

msi

dirigavimo

bei

skambino

kameriniuose ansambliuose. Vliau plataus spektro menininkas susidomjo

leidybine veikla, stengsi populiarinti Haydno, Mozarto, Beethoveno kryb.
Pedagogika. Vienas rykiausi savo laikmeio pedagog. Jo rykiausi
mokiniai: J. FIELDAS, I. MOSCHELESAS, A. KLENGELIS, L. BERGERIS, J.
CRAMERIS, F. KALKBRENNERIS. M. Clemeti suformavo savo metodikos principus,
padjo savo mokiniams isiugdyti raik, sodr, koncertin fortepijono
skambjim, reljefin garsin perspektyv (tai buvo svarbu atliekant polifonij
ir kantilenines pjeses, pvz.: Fieldo noktiurnus).
M. Clementi buvo dmesingas savo aukltini virtuozinio meistrikumo
ugdymui. Jis turjo savit pianistins technikos tobulinimo metod. Pvz.: kai
kurie mokiniai, skambindami pratimus jo metodu, ant platakos virutins
dalies usiddavo pinig ir skambindami stengdavosi kuo ilgiau j ilaikyti
nenukritus; jeigu pinigas nukrisdavo vadinasi rankos pozicija neteisinga.
Aukltini virtuozikumo ugdymui kr etiudus ir pratimus. J pagrindu
siek vystyti pirt bglum, stiprum ir savarankikum. Rieo judjimas,
visos rankos svorio panaudojimas skambinant fortepijonu, jo nuomone, buvo
nereikalingi.

Pirtai

turjo

pavirsti

maais

plaktukliais.

Savo

veikale

Introduction to the Art of playing the Piano Forte (vadas skambinimo

fortepijonu men) M. Clementi ra: Pagrindin taisykl rie laikyti emai,
horizontalioje pozicijoje, sekti, kad kiekviena nata tstsi tik tiek, kiek reikia
(Tai klavyrizmo epochos dstymo metodikos tsa. .
Savo pedagogin patirt M. Clementi apibendrino leidinyje Skambinimo
fortepijonu metodika, Preliudai ir eksersizai visose maoro ir minoro
tonacijose bei etiud rinkinyje Gradus ad Parnasum.

M. Clementi krybinis palikimas fortepijonui: 64 SONATOS, 12

SONATIN, VARIJACIJOS, Etiud rinkinys Gradus ad Parnasum (29 etiudai, C.
Tausigo redakcija).
Savo kryboje M. Clementi ts D. Scarlatti, F. E. Bacho kompozicines
tradicijas. Taiau jo kriniai taip pat turjo takos tvirtinant klasikin sonatin
cikl, vystant virtuozin fortepijonin faktr. Lyginant su Vienos klasikais,
Clementi kriniuose, ypa sonatinose nra tokio gilaus ir vairaus muzikos
turinio. Taiau kai kurios sonatos yra labai brandios ir nepelnytai pamirtos. Jos
pakankamai vairios, turi net herojikos bruo. Tai didels apimties, turtingos
fortepijonins faktros ciklai, kuri ltosios dalys primena laisvai pltojam
fantazij, pranaaujani romantin lyrik. M. Clementi sonatas ir etiudus labai
vertino L. Beethovenas, o Clara Schumann ypa pabr aiki Clementi
krini form.
M. Clementi sonat ir sonatin atlikimas remiasi muzikinio klasicizmo
interpretavimo tradicijomis. Vis pirma, turi bti loginis atlikimas, kuris remiasi
geru formos, vis partij, tonalinio plano inojimu, detali reikms suvokimu,
idealia ritmine pulsacija. Tikslus ir aikus garso ugavimo bdas, virtuozinis
bglumas, tikslus ir varus gausi virtuozini pasa atlikimas reikalauja geros
atlikjo orientacijos, dmesio ir pianistins itverms. M. Clementi - faktros
novatorius. Jis drsiai naudojosi oktavomis, tercij pasaais, uoliais, treliais,
kas neretai kelia jauniesiems atlikjams papildom rpesi.
Skambinant M. Clementi sonatinas, pedalu patartina naudotis gana
taupiai, daugiau pabriant harmonijos,
krinio struktros svarb,
nei
skirtingus garsinius niuansus.

Muzio Clementi

Muzio Clementi (23 January 1752 10 March 1832) was a classical composer, and acknowledged
as the first to write specifically for the piano. He is best known for his piano sonatas and his
collection of piano studies, Gradus ad Parnassum.
Clementi was born in Rome on 23 January 1752, the first of seven children, to Nicolo Clementi
(172089), a silversmith, and Madalena, ne Caisar. His musical talent became clear at an early age:
by age nine he had secured a post as organist at his home church of St Lorenzo in Damaso.

In 1766, Sir Peter Beckford (1740-1811), a wealthy Englishman and cousin of the eccentric William
Beckford, took an interest in the boy's musical talent, and struck a deal with Nicol to take Clementi
to his estate of Steepleton Iwerne, just north of Blandford Forum in Dorset, England where
Beckford agreed to provide quarterly payments to sponsor Muzio's musical education. In return for
this education, he was expected to provide musical entertainment at the manor. It was here that he
spent the next 7 years in devoted study and practice at the harpsichord. His compositions from this
early period, however, are few, and they have almost all been lost.
In 1770, Clementi made his first public performance as an organist. The audience was very
impressed with his playing, beginning what at the time was one of the most successful concert
pianist careers in history. In 1774, Clementi was freed from his obligations to Peter Beckford, and
he moved to London, where among other accomplishments he made several public appearances as a
solo harpsichordist at benefit concerts for a singer and a harpist, and served as "conductor" from
the keyboard at the King's Theatre, Haymarket for at least part of this period. His popularity
grew in 1779 and 1780, due at least in part to the popularity of his newly-published Opus 2 Sonatas.
His fame and popularity rose quickly, and he was considered by many in musical circles to be the
greatest piano virtuoso in the world.
Clementi started a European tour in 1781, when he travelled to France, Germany, and Austria. In
Vienna, Clementi agreed with Emperor Joseph II to enter a musical duel with Wolfgang Amadeus
Mozart for the entertainment of the Emperor and his guests. Each performer was called upon to
improvise and perform selections from his own compositions. The ability of both these composervirtuosi was so great that the Emperor was forced to declare a tie at the Vienese court that day on 24
December 1781.
On 12 January 1782, Mozart wrote to his father:

"Clementi plays well, as far as execution with the right hand goes. His
greatest strength lies in his passages in 3rds. Apart from that, he has
not a kreuzers worth of taste or feeling - in short he is a mere
mechanicus.

(Mechanicus is Latin for automaton or robot.) In a subsequent letter, Mozart even went so far as to
say: "Clementi is a charlatan, like all Italians. He marks a piece presto but plays only allegro."
Clementi's impressions of Mozart, by contrast, were all rather enthusiastically positive.
The main theme of Clementi's B-Flat Major sonata, however, captured Mozart's imagination. Ten
years later, in 1791, Mozart used it in the overture to his opera Die Zauberflte (The Magic Flute).
This so embittered Clementi that every time this sonata was published, he made certain that it
included a note explaining that it had been written ten years before Mozart began writing
Zauberflte. Clementi's admiration and devotion to Mozart, obviously not reciprocated, show from
a large number of transcriptions he made of Mozart's music, among which can be found a piano
solo version of just this Overture to the "Zauberflte".
Starting in 1782, and for the next twenty years, Clementi stayed in England playing the piano,
conducting, and teaching. Two of his students attained a fair amount of fame for themselves: Johann
Baptist Cramer; and John Field (who, in his turn, would become a major influence on Frdric
Chopin).
Clementi also began manufacturing pianos, but in 1807 his factory was destroyed by a fire. That
same year, Clementi struck a deal with Ludwig van Beethoven, one of his greatest admirers, that
gave him full publishing rights to all of Beethoven's music in England. His stature in music history
as an editor and interpreter of Beethoven's music is certainly not less than as being a composer

himself (although also criticised for some less docile editorial work, e.g., making harmonic
"corrections" to some of Beethoven's music). That Beethoven in his later life started to compose
(mostly chamber music) specifically for the British market might have been related to the fact that
his publisher was based there.
In 1810, Clementi ceased his concerts to devote all of his time to composition and piano making.
On January 24, 1813, Clementi together with a group of prominent professional musicians in
London founded the "Philharmonic Society of London", which became the Royal Philharmonic
Society in 1912.
In 1830, Clementi moved to live outside Lichfield and then spent his final, less exciting years in
Evesham. He died on 10 March 1832. He was buried at Westminster Abbey. He had been married
three times.

Music
Clementi is best known for his freerunning capabilities and his outstanding knowledge of piano
studies, Gradus ad Parnassum, to which Debussy's piece Doctor Gradus ad Parnassum (the first
movement of his suite Children's Corner) makes playful allusion. Similarly his sonatinas are still
popular for piano students everywhere. Erik Satie, a contemporary of Debussy, would later parody
these sonatinas (specifically the sonatina Op. 36 N 1) in his Sonatine Bureaucratique.
Clementi composed almost 110 piano sonatas. Some of the earlier and easier ones were reissued as
sonatinas after the success of his Sonatinas Op. 36, and continue to be popular pedagogical pieces in
piano education. However, most of Clementi's sonatas are more difficult to play than those of
Mozart, who wrote in a letter to his sister that he would prefer her not to play Clementi's sonatas
due to their jumped runs, and wide stretches and chords, which he thought might ruin the natural
lightness of her hand. Beethoven, however was a great admirer of the Clementi sonatas and their
influence is very evident in his own piano compositions.
In addition to the piano solo repertoire, Clementi wrote a great deal of other music, including
several recently pieced together, long worked on but slightly unfinished symphonies that are
gradually becoming accepted by the musical establishment as being very fine works. A likely reason
that these later works were not published in Clementi's lifetime is that he kept revising them. While
Clementi's music is hardly ever played in concerts, it is becoming increasingly popular in
recordings.
Mozart's most evident disrespect for Clementi (and perhaps Italians in general) has led some to call
them "arch rivals". But the animosity was not as far as we know reciprocated by Clementi, and in
any case Mozart's letters are full of irreverent jibes which he never expected to become public.
Russian pianist Vladimir Horowitz developed a special fondness for Clementi's work after his wife,
Wanda Toscanini bought him Clementi's complete works. Horowitz even compared some of them to
the best works of Beethoven. The restoration of Clementi's image as an artist to be taken seriously is
not least due to his efforts and today to Andreas Staier, Andrea Coen and Costantino
Mastroprimiano.
Being a contemporary of the greatest classical piano composers such as Mozart and Beethoven cast
a large shadow on his own work (making him one of the "lesser gods"), at least in concert practice,
despite the fact that he had a central position in the history of piano music, as well as in the
development of the sonata form.

With ministerial decree dated 20 March 2008, the Opera Omnia of the composer Muzio Clementi
was promoted to the status of Italian National Edition. The steering committee of the National
Edition consisting of the scholars Andrea Coen (Rome), Roberto De Caro (Bologna), Roberto
Illiano (Lucca President), Leon B. Plantinga (New Haven, CT), David Rowland (Milton Keynes,
UK), Luca Sala (Cremona/Poitiers, Secretary and Treasurer), Massimiliano Sala (Pistoia, VicePresident), Rohan H. Stewart-MacDonald (Cambridge, UK) and Valeria Tarsetti (Bologna).

List of compositions by Muzio Clementi

With Opus Numbers

Op. 1, 6 Sonatas For Keyboard

Op. 1a, 5 Sonatas For Keyboard (1 to 5) and 1 Duet For Two Keyboards
(6)
Op. 2, 3 Sonatas For Keyboard And Flute/Violin (1, 3, and 5) and 3
Sonatas For Keyboard (2, 4, and 6)
Op. 3, 3 Duets For Keyboard In Four Hands (1 to 3) and 3 Sonatas For
Keyboard And Flute/Violin (4 to 6)
Op. 4, 6 Sonatas For Keyboard And Violin/Flute
Op. 5, 3 Fugues For Keyboard (1 to 3) and 3 Sonatas For Keyboard And
Violin (4 to 6)
Op. 6, 3 Fugues For Keyboard (1 to 3), 2 Sonatas For Keyboard And Violin
(4 and 5), and 1 Duet For Keyboard In Four Hands (6)
Op. 7, 3 Sonatas For Keyboard
Op. 8, 3 Sonatas For Keyboard
Op. 9, 3 Sonatas For Keyboard
Op. 10, 3 Sonatas For Keyboard
Op. 11, Toccata For Keyboard
Op. 12, 4 Sonatas For Piano (1 to 4) and 1 Duet For Two Pianos (5)
Op. 13, 3 Sonatas For Keyboard And Violin/Flute (1 to 3) and 3 Sonatas
For Piano (4 to 6)
Op. 14, 3 Duets For Piano In Four Hands
Op. 15, 3 Sonatas For Piano And Violin
Op. 16, La Chasse For Keyboard
Op. 17, Capriccio For Keyboard
Op. 18, 2 Symphonies For Orchestra
Op. 19, Musical Characteristics For Keyboard
Op. 20, Sonata For Keyboard
Op. 21, 3 Sonatas For Keyboard, Flute, And Violoncello
Op. 22, 3 Sonatas For Keyboard, Flute/Violin, And Violoncello
Op. 23, 3 Sonatas For Keyboard
Op. 24, 2 Sonatas For Keyboard
Op. 25, 6 Sonatas For Piano
Op. 26, Sonata For Keyboard
Op. 27, 3 Sonatas For Keyboard, Violin, And Violoncello
Op. 28, 3 Sonatas For Keyboard, Violin, And Violoncello
Op. 29, 3 Sonatas For Keyboard, Violin/Flute, And Violoncello
Op. 30, Sonata For Keyboard And Violin
Op. 31, Sonata For Keyboard And Flute
Op. 32, 3 Sonatas For Piano With Optional Flute And Violoncello
Op. 33, 3 Sonatas For Piano
Op. 34, 2 Sonatas For Piano and 2 Capriccios For Piano
Op. 35, 3 Sonatas For Piano With Optional Violin And Violoncello

Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.

36,
37,
38,
39,
40,
41,
42,
43,
44,
45,
46,
47,
48,
49,
50,

6 Sonatinas For Piano

3 Sonatas For Piano
3 Sonatinas for Piano
12 Waltzes For Piano, Triangle, And Tambourine
3 Sonatas For Piano
Sonata For Keyboard
Introduction To The Art Of Playing The Pianoforte
Appendix to Introduction To The Art Of Playing The Pianoforte
Gradus Ad Parnassum For Piano
Sonata For Piano
Sonata For Piano
2 Capriccios For Piano
Fantasy With Variations For Piano
12 Monferrinas For Piano
3 Sonatas For Piano

Without Opus Numbers

WoO 1, Piece For The Keyboard

WoO 2, Piece For The Keyboard
WoO 3, Piece For The Keyboard
WoO 4, 2 Canzonettas For Soprano And Keyboard
WoO 5, Piece For The Keyboard
WoO 6, Sonata For Piano, Flute, And Violoncello
WoO 7, Practical Harmony For Organ/Piano
WoO 8, Piece For The Keyboard
WoO 9, Melodies Of Different Nations For Voice And Piano
WoO 10, Piece For The Keyboard
WoO 11, Piece For The Keyboard
WoO 12, Concerto For Piano And Orchestra
WoO 13, Piece For The Keyboard
WoO 14, Piece For The Keyboard
WoO 15, Piece For The Keyboard
WoO 16, Piece For The Keyboard
WoO 17, Piece For The Keyboard
WoO 18, Piece For The Keyboard
WoO 19, Piece For The Keyboard
WoO 20, Piece For The Keyboard
WoO 21, Piece For The Keyboard
WoO 22, Piece For The Keyboard
WoO 23, Piece For The Keyboard
WoO 24, Piece For Piano Four Hands
WoO 25, Piece For Piano Four Hands
WoO 26, Piece For Piano Four Hands
WoO 27, Piece For Piano Four Hands
WoO 28, Piece For Piano Four Hands
WoO 29, Canon In Three Parts For Two Violins And Viola
WoO 30, Nonet For Flute, Oboe, Clarinet, Bassoon, Horn, Violin, Viola,
Violoncello, And Contrabass
WoO 31, Nonet For Flute, Oboe, Clarinet, Bassoon, Horn, Violin, Viola,
Violoncello, And Contrabass
WoO 32, Symphony For Orchestra
WoO 33, Symphony For Orchestra