Muzio Clementi 6h572y

Muzio Clementi, composed more than 60 sonatas for the piano alone and half again as many for piano and violin or flute and strongly influenced the style of piano writing. “ “LIFE”

Childhood life[edit] Muzio Filippo Vincenzo sco Saverio Clementi (baptized Mutius Philippus Vincentius Franciscus Xaverius) was born in Rome, Italy, on 23 January 1752, and was baptized the following day at San Lorenzo in Damaso.[2] He was the eldest of the seven children of Nicolò Clementi (1720– 1789), a silversmith, and Madalena, née Caisar (Magdalena Kaiser), who was Swiss. Nicolò soon recognized Muzio's musical talent and arranged for private musical instruction with a relative, Antonio Baroni, the maestro di cappella at St. Peter's Basilica.[3]

Education[edit] At the age of seven Clementi began studies in figured bass with the organist Cordicelli, followed by voice lessons from Giuseppe Santarelli. A few years later, probably when he was 11 or 12, he was given counterpoint lessons by Gaetano Carpani. By the age of 13 Clementi had already composed an oratorio, Martirio de' gloriosi santi Giuliano e Celso,[2]and a mass. When he was 14, in January 1766, he became organist of the parish church of San Lorenzo in Dámaso.[3]

Move to England[edit] In 1766 Sir Peter Beckford (1740–1811), a wealthy Englishman and cousin of William Beckford, twice Lord Mayor of London (and father of the novelist William Thomas Beckford), visited Rome. He was impressed by the young Clementi's musical talent and negotiated with his father to take him to his estate, Steepleton Iwerne, north of Blandford Forum in Dorset, England. Beckford agreed to provide quarterly payments to sponsor the boy's musical education until he reached the age of 21. In return, he was expected to provide musical entertainment. For the next seven years Clementi lived, performed, and studied at the estate in Dorset. During this period, it appears, Clementi spent eight hours a day at the harpsichord, practicing the works of Johann Sebastian Bach, Carl Philipp Emanuel Bach, George Frideric Handel, Domenico Scarlatti, Alessandro Scarlatti and Bernardo Pasquini. His only compositions dated to this period are the Sonatas WO 13 and 14 and the Sei Sonate per clavicembalo o pianoforte, Op. 1.[4] Mozart used the opening motif of Clementi's B-flat major sonata (Op. 24, No. 2) in his overture for The Magic Flute. It was not unusual for composers to borrow from one another, and this might be considered a compliment. Though Clementi noted in subsequent publications of his sonata that it had been written ten years before Mozart's opera—presumably to make clear who was borrowing from whom—Clementi retained an iration for Mozart, as reflected in the large number of transcriptions he made of Mozart's music, among which is a piano solo version of the Magic Flute overture.

Teaching[edit] From 1783, and for the next twenty years, Clementi stayed in England, playing the piano, conducting, and teaching. Several of his students include: Johann Baptist Cramer, Ignaz Moscheles, Therese Jansen Bartolozzi, Ludwig Berger (who went on to teach Felix Mendelssohn), and John Field (who, in his turn, would become a major influence on Frédéric Chopin).

ORATORIO- LARGE ENSEMBLE WITH ORCHESTRA OR CHOIR

San Lorenzo in Damaso is a basilica church in central Rome, Italy. A sonatina is literally a small sonata. As a musical term, sonatina has no single strict definition; it is rather a title applied by the composer to a piece that is in basic sonata form, but is shorter and lighter in character, or technically more elementary, than a typical sonata. [1] The term has been in use at least since the late baroque; there is a one-page, one-movement harpsichord piece by Handel called "Sonatina".[2] It is most often applied to solo keyboard works, but a number of composers have written sonatinas for violin and piano (see list under Violin sonata), e.g. Sonatina in G major for Violin and Piano by Antonín Dvořák, and occasionally for other instruments, e.g. the Clarinet Sonatina by Malcolm Arnold.

Counterpoint-----the technique of setting, writing, or playing a melody or melodies in conjunction with another, according to fixed rules.