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Updated: June 4, 2025
That Beethoven found novel means of expression to satisfy the importunate demands of his musical conceptions; that his piano works display a greater polyphony, stronger contrasts, bolder and richer rhythm, broader design and execution, by no means impair the value of his obligations to Clementi, obligations which the most arrogant and self-centered of men freely allowed.
She was a professional pianist, and bore him a son; then she left him, and changed her name, as did even the son. He was one of the many composers who should have been kept in a cage. As for Clementi, he was chiefly notable for his miserly qualities, by which he rendered miserable three successive wives.
Meyerbeer was born at Berlin, September 5, 1794, and was a musical prodigy from his earliest years. When only four years old he would repeat on the piano the airs he heard from the hand-organs, composing his own accompaniment. At five he took lessons of Lanska, a pupil of Clementi, and at six he made his appearance at a concert.
He found such great players as J. B. Cramer, Ferdinand Ries, Kalkbrenner, and Clementi in the field; but our young artist did not altogether lose by comparison. Among other distinguished musicians, Moscheles also met Kiesewetter, the violinist, the great singers Mara and Catalani, and Dragonetti, the greatest of double-bass players.
She sat quite quiet over her embroidery, listening to the talk of Sontag, of Clementi, of musicians and singers dead and gone. She noticed that the ladies treated Signor Graziano with the utmost reverence; even the positive Miss Prunty furling her opinions in deference to his gayest hint.
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.
At this day the amateur would give much to hear exactly how such men as Meyerbeer, and Hummel, and Clementi played, and to compare them with Thalberg, Gottschalk, and Satter.
It is strange but true that Offenbach lost all his good qualities as soon as he took himself seriously. But he was not the only case of this in the history of music. Cramer and Clementi wrote studies and exercises which are marvels of style, but their sonatas and concertos are tiresome in their mediocrity.
Mikuli says that, carefully arranged according to their difficulty, Chopin placed before his pupils the following compositions: the concertos and sonatas of Clementi, Mozart, Bach, Handel, Scarlatti, Dussek, Field, Hummel, Ries, Beethoven; further, Weber, Moscheles, Mendelssohn, Hiller, Schumann, and his own works.
The most unique and splendid personality in music has thus been singled out as furnishing a vivid illustration of the influence exerted by Clementi in the department of the piano-forte. Clementi lived to the age of eighty, and spent the last twelve years of his life in London uninterruptedly, his growing feebleness preventing him from taking his usual musical trips to the Continent.
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