er of fesreoion = CARLT TAUSIG. Wrong BOSTON. OLIVER DITSON& C9 451 WASHINGTON ST MYORKCHDITSON& 00. CHICAGULYONRHERLY. = PHILALE.DITSON&CD, St Louis. d.L, Peters. Baltimore, Oo Sut 5.Frencisco Sherman flay &6o.~ MUZIO CLEMENTI, : ‘Tux creator of brilliant pianoforte composition, ad of masterly pianoforte playing, was also the head of a scbool, whose pupils and followers stil bear witnes to the excellence of ita principles. With his Sonatas be creatd pisces ofa arger styl which corresponded ‘0 perfectly with the character of the tnstrument for which they were intended, and, at the same time, displayed so briliantiy the ar- titi el ofthe performer, that they formed from that time the model of all emilar composttions. His last work, however, published about fifty years ago, “Gradus ad Parnassus,” or the art of playing the planoforte, taught by # bundred exercises, is his most important ‘work, and rough this, he has forever assured to his name a conspicuous plaoe in the history of the literatare of his art. Tho whole experience of a thorough conselentions and inspiring teacher is tho bass oft, and no work has since appeared which bas surpassed it in comprehensiveness and directooss. ‘Tho scholar who has thoroughly studied the exercises of the “Gradus ad Parnassum,” and can play ‘them correctly and fluent, wil also be able to play the pianoforte works ofall the composers, fom C.P. Bach to Beethoven, with ‘out finding any serious obstacles, Many a pupil, however, would be dismayed by the great namber of exercises of this work, which fnctnded many similar passages and manners of playing, and consisted, alao, in part, of compositions that no longer suit the present taste . ‘he oditor of the present work bas, therefore, chosen the most important and instructive studies, which, at tho samo time, aro caelated to overoome the most various difficulties; be has arranged them progressively, provided them with variations in ingering ‘and in the manner of execution, and tas thus, undoubtedly, met the needs of our time. He has altered the original fingering of these ‘stuites only in such places as it no longer corresponded seth the present views in regard to this branch of piano-technique, or there a aifferent fngering could give the pupit the opportunity to strengthen the fingers of both hands, which are naturally weakest, to practise ‘uting the diferent fingers over and under, orto give the hand greater elasticity, ee. The intelligent teacher will soon recognise the propriety of the choice of such peculiar and more dificult fgering, especially since the majority of these exercises furnish suficent epportunity to drt the scholar, and increase his dertrity with the most convenient fngering, Concern, the most meritorious composer of these stadies, which are indispensable to every pianist, was born at Rome, in 1762, and there began early his studies in msi, Tn his eighteenth year ho surpassed all the pianists of his time, in flery, powerfol and Driliant execution. Extensive travels spread tho knowledge of his art over the greater part of Europe, and he planted it as suecess- folly by means of mumerous scholars. At nine years of ago, he passed tho examinatioa for obtaining an organist’s place in Rome; at ‘twenty.nine, he was summoned to Vienna by the Emperor, to cotpete in piano playing and improvisation wit the celebrated Mosart, and when an old man of eighty, by an Imprompta Phantasy upon tho piano, be excited, at London the warmest enthusiasm in a com- ‘ny of his pupils and admirers, among whom were J. B. Cramer and J. Moscheles. Ibistrue that Mozart, who was expecially prejudiced against all Italians, describes Clementi as a mere “mechanician,” who possessed reat strength in third passages, but not an atom of tasto or feeling, Ludwig Berger, however, who was ove of Clement's most distinguished pupils, gives in the Cain (Vol. 10,—200, 1829) the following explanation of Mozart's harsh judgment of bla honored ‘master, Ho says that bo asked Clementi whether he played, at thet time (1781), in his present (1806) style. Clementi sald no; and ‘added that, in that earlier time, he took most pleasure in biliant tochnique, and especially runs in double notes that had not previously been in uss and in extemporaneous playing, that it was not until Inter that he acquired the more singing and noble silo of playing. ‘This ho obiained through attentive hearing’of the celebrated singers of the time, and also through the gradual Improvement in ‘lanos (especially in tho English grand pianos), whoso defective construction almost excluded the possibility of a more singing and ‘connected stple. “Thus? continues Berge, ‘is explained, it seems to me, Mozart's verdict that he was without taste and expression, sverct which could not but cause misintarpreations to Mozar’s disadvantage, but which was, ina measure, only natural. Tt does ‘ot injure in the least tho now universally acknowledged creator and former of fine piano playing?” Clement's otter pupils, too, among whom J. Feld, A. Klengel J.B, Cramer and B. A. Bertini, are especially noticeable, always expressed a like enthusiasm in regard to the spirited style, and tho inspiring method of teaching of their master, and often seoompanied him upon his journeys through England, France, Germany, Rassia and Italy. ‘An before marked, the Gradus ad Parnassum is Clementis most important piano work, and is prepared with especal love and care. ‘The paces init, and especially thaso chosen here aro stndie, in the truo sense of the word. Yor every one of them takes up & cortain figare, either rolling passages, broken chords, intentionally chosen difiolties, or other things which are designed to make the fingers independent of each other, orto increas th strength and endurance of the player aud this figure it carries fn manifold waya ‘through tho whole pices. ‘The stadies propared inthis way, wil enable the student who can play them correctly and fuently, to play ‘with easo similar passage in tho works of other composers, and will especially aid him in oquiring the precision, clearness and skill necessary for the excoution of any kind of piece Only Clementi and Chopin, ccording to tho editor's opinion, hare composed perfectly satisfactory studies of this kind, He uses them asthe principal work in to higher school of piano playing conducted by him, as also for his own practise. With these studies, therefore, Clementi has mad accessible to the student, all to plano compositions from 6. Bach, who, however, requires separate stady, to Beethoven; and Chopin has dono the same in like manner for the compositions from Beethoven to Liszt, in whose writings virtuoso- atip is carrid to dizry height ©. F, WEITZMAN.2 Clementi “GRADUS AD PARNASSUM? (C.Tavsig.) Veloce, wae rea ——_—* ° SS I AIT the notes ar to be struck equally Toad, Copyright iz by ODitsong Co, ‘This study must be practised legs marcato, pee * lu ‘A The change from a white to a Black ey mast not be perceptible, 48858sane.Veloce, 2.) 7 atte, 2 1 2) olae sSipits 1, | egato aps bpbe ges a 2oe p24 —a™ ve of ot id sempre legato y aes ped dd ‘a, ee dd dy 1 gu 2 35 | seserp gers’ 18858salzssas the, bowtie a . 32,1 213h$ 132 he sagan? gr Se Teaagaselaae von, attt boas