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The inspector rose and approached the door through which Clementi's roulade was heard. "Marusia; if you would only stop for a little while," he said in a voice which showed that this music was the cross of his life; "I cannot hear anything." The music ceased; discontented steps were heard, and some one looked through the door.
What is it you want?" he said, buttoning up the middle button of his uniform. "I have just been to the vice-governor's, and got this order from him. I should like to see the prisoner Maslova." "Markova?" asked the inspector, unable to bear distinctly because of the music. "Maslova!" "Well, yes." The inspector got up and went to the door whence proceeded Clementi's roulades.
Clementi's attainments were so phenomenal that he carried everything before him in London, and met with a success so brilliant as to be almost without precedent. Socially and musically he was one of the idols of the hour, and the great Handel himself had not met with as much adulation.
This influence provoked the following dream: "His piano teacher reproaches him for neglecting his piano-playing, and for not practicing the Etudes of Moscheles and Clementi's Gradus ad Parnassum." In relation to this he remarked that the Gradus is only a stairway, and that the piano itself is only a stairway as it has a scale.
It was generally reported that Field was kept on very short allowance by his master, and was obliged to pay for the good fortune of having his instruction by many privations. I myself experienced a little sample of Clementi's truly Italian parsimony, for one day I found teacher and pupil with upturned sleeves, engaged at the wash-tub, washing their stockings and other linen.
Clementi's Musical Tour. His Duel with Mozart before the Emperor. Tenor of Clementi's Life in England. Clementi's Pupils. Trip to St. Petersburg. Sphor's Anecdote of Him. Mercantile and Manufacturing Interest in the Piano as Partner of Collard. The Players and Composers trained under Clementi. His Composition. Status as a Player. Character and Influence as an Artist.
During his studies of counterpoint and the organ Clementi never neglected his harpsichord, on which he achieved remarkable proficiency, for the piano-forte at this time, though gradually coming into use, was looked on rather as a curiosity than an instrument of practical value. The turning-point of Clementi's life occurred in 1767, through his acquaintance with an English gentleman of wealth, Mr.
Great care should be taken when using this principle, or lameness will result. A low seat at the piano is a necessity for this practise; sitting low is an aid to weight playing: we all know how low Paderewski himself sits at the instrument. "You ask what technical material is employed. Czerny, Op. 740; not necessarily the entire opus; three books are considered sufficient. Also Clementi's Gradus.
From a boarding-school, a black-board, a piano, and Clementi's "Sonatinas," the child had made a rash adventure upon life in the company of a half-bred hawbuck; and she was already not only regretting it, but expressing her regret with point and pungency. As I alighted they both paused with that unmistakable air of being interrupted in a scene.
You will now be presented with a battalion of authorities, so that you may see at a glance the various efforts to climb those slippery chromatic heights. Kullak's is exactly the same as above. It is the so-called Chopin fingering, as contrasted with the so-called Czerny fingering though in reality Clementi's, as Mr. John Kautz contends.
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