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Updated: June 2, 2025
But mere artistic fame is transitory, and it is in Clementi's contributions to the permanent history of piano-forte playing that we must find his chief claim on the admiration of posterity. He composed not a few works for the orchestra, and transcriptions of opera, but these have now receded to the lumber closet.
In March, 1807, the warehouses occupied by Clementi's new firm were destroyed by fire, entailing a loss of about forty thousand pounds. But the man's courage was indomitable, and he retrieved his misfortunes with characteristic pluck and cheerfulness.
The inspector rose and gently turning the girl aside, walked into the vestibule. He had scarcely donned the overcoat handed him by the girl with the bandaged eye and crossed the threshold when the distinct sounds of Clementi's roulade broke out. "She was at the Conservatory, but there is disorder in that institution. But she is very gifted," said the inspector, walking down the stairs.
The passing of the thumb under the other fingers and the passing of the latter over the former was to be facilitated by a corresponding turning inward of the hand. In the same sequence he took up Clementi's Preludes et Exercices, a work which for its utility he esteemed very highly."
Were it not for what I have ventured to call the fetish of Jumboism, I am convinced that Professor Ehlert would have written Mozart's name in this last sentence in place of Clementi's.
As Viotti was the father of modern violin-playing, Clementi may be considered the father of virtuosoism on the piano-forte, and he has left an indelible mark, both mechanically and spiritually, on all that pertains to piano-playing. Compared with Clementi's style in piano-forte composition, that of Haydn and Mozart appears poor and thin.
The English instrument was speedily developed into the production of a richer, fuller, and more sonorous tone, while the Viennese piano-forte continued for a long time to be distinguished by its light, thin, sweet quality of sound, and an action so sensitive that the slightest pressure produced a sound from the key, so that the term "breathing on the keys" became a current expression, Clementi's piano favored a bold, masculine, brilliant style of playing, while the Viennese piano led to a rapid, fluent, delicate treatment.
Hardly had he got into the overcoat which the maid helped him to put on, and before he had reached the door, the distinct sounds of Clementi's roulades again began. "She entered the Conservatoire, but there is such disorder there. She has a great gift," said the inspector, as they went down the stairs. "She means to play at concerts." The inspector and Nekhludoff arrived at the prison.
Well, Madame Dubois says that Chopin made her begin with the second book of Clementi's Preludes et Exercices, and that she also studied under him the same composer's Gradus ad Parnassum and Bach's forty-eight preludes and fugues. WE now come to the catastrophe of Chopin's life, the rupture of his connection with George Sand.
To the left of the divan was the old English grand piano, on which my dark-complexioned sister, Liubotchka, eleven years old, was painfully practising Clementi's exercises. Near her Marya Ivanova, with scowls on her face, was loudly counting, and beating time with her foot.
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