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Updated: June 4, 2025
For the dear soul knew that music was a very sovereign balm; She had sprinkled it over Sorrow and seen its brow grow calm, In the days of slender harpsichords with tapping tinkling quills, Or caroling to her spinet with its thin metallic thrills. So Mary, the household minstrel, who always loved to please, Sat down to the new "Clementi," and struck the glittering keys.
He is even credited with having trilled in octaves with one hand. Taking upon himself the management of an English piano factory, he extended the keyboard, in 1793, to five and a half octaves. Seven octaves were not reached until 1851. His "Gradus ad Parnassum" became the parent of Etude literature. Carl Tausig said: "There is but one god in technique, Bach, and Clementi is his prophet."
Serassi reports that in 1614 Clementi Bartoli of Urbino possessed no less than eighty pastoral plays; while by 1700, the year of Fontanini's work on the Aminta, Giannantonio Moraldi is said to hsve brought together in Rome a collection of over two hundred.
Extended chords had been sparingly used by Hummel and Clementi, but to take a dispersed harmony and transform it into an epical study, to raise the chord of the tenth to heroic stature that could have been accomplished by Chopin only. And this first study in C is heroic. Theodore Kullak writes of it: "Above a ground bass proudly and boldly striding along, flow mighty waves of sound.
I could make something of him if you could hand him over to me for three years, and follow out my plan to the letter. The first year he must play nothing but Mozart, the second Clementi, and the third Bach; but only that: not a note as yet of Beethoven; and if he persists in using the circulating libraries, I have done with him for ever."
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.
Clementi numbers among his pupils more great names in the art of piano-forte playing than any other great master. This is partly owing to the fact, it may be, that he began his career in the infancy of the piano-forte as an instrument, and was the first to establish a solid basis for the technique of the instrument.
WEITER...WEITER, once...SCHON! The chords, quick!" The pupil did not open her mouth until they began the second movement of the Clementi sonata, when she remonstrated in low tones about the way he had marked the fingering of a passage. "It makes no matter what you think," replied her teacher coldly. "There is only one right way. The thumb there. EIN, ZWEI, DREI, VIER," etc.
For the dear soul knew that music was a very sovereign balm; She had sprinkled it over Sorrow and seen its brow grow calm, In the days of slender harpsichords with tapping tinkling quills, Or caroling to her spinet with its thin metallic thrills. So Mary, the household minstrel, who always loved to please, Sat down to the new "Clementi," and struck the glittering keys.
This enumeration, however, does not agree with accounts from other equally authentic sources. The pupils of Chopin I have conversed and corresponded with never studied any Schumann under their master. As to the cultivation of Beethoven, it was, no doubt, limited. Clementi, Bach, and Field being always the composers most laid under contribution in the case of debutants.
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