MUZIO See also:

• MUZIO CLEMENTI (c. 1751-1832)

CLEMENTI (c. 1751-1832)  , See also:

• ITALIAN

Italian pianist and composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ROME
• ROME (Roma)

Rome between 1750 and 1752 . His See also:

• FATHER

father, a jeweller, encouraged his son's See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early musical See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent . Buroni and Cordicelli were his first masters, and at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of nine See also:

• CLEMENTI, MUZIO (c. 1751-1832)

Clementi's theoretical and See also:

• PRACTICAL

practical studies had advanced to such a degree that he was able to win the position of organist at a See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church . He continued his studies under Santarelli and Carpani, and at the age of fourteen wrote a See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass which was performed in public . About 1766 See also:

• BECKFORD, WILLIAM (1760–1844)

Beckford, the author of Vathek, persuaded Clementi to follow him to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, where the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young composer lived in retirement at one of the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country seats of his See also:

• PROTECTOR

protector in See also:

• DORSETSHIRE (DORSET)

Dorsetshire until 1770 . In that See also:

• YEAR

year he first appeared in See also:

• LONDON

London, where his success both as composer and pianist was rapid and brilliant . In 1777 he was for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time employed as conductor of the Italian See also:

• OPERA (Italian for " work ")

opera, but he soon afterwards See also:

• LEFT

left London for See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris . Here also his concerts were crowded by enthusiastic audiences, and the same success accompanied Clementi on a tour about the year 178o to See also:

• SOUTHERN

southern See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria . At See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, which he visited between 1781 and 1782, he was received with high See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour by the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph II., in whose presence he met See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart, and fought a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of musical See also:

• DUEL (Ital. duello, Lat. duellum—old form of bellum-from duo, two)

duel with him . His technical skill proved to be equal if not See also:

• SUPERIOR

superior to that of his See also:

• RIVAL

rival, who on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand infinitely surpassed him by the passionate beauty of his See also:

• INTERPRETATION (from Lat. interpretari, to expound, explain, inter pres, an agent, go-between, interpreter; inter, between, and the root pret-, possibly connected with that seen either in Greek 4 p4'ew, to speak, or irpa-rrecv, to do)

interpretation . It is See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth noting that one of the finest of Clementi's sonatas, that in B See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, shows an exactly identical opening theme with Miozart's See also:

• OVERTURE (Fr. ouverture, opening)

overture to the Flauto Magico . In May 1782 Clementi returned to London, where for the next twelve years he continued his lucrative occupations of fashionable teacher and performer at the concerts of the See also:

• ARISTOCRACY (Gr. apuvror, best; «paria, government)

aristocracy .

He took shares in the See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte business of a See also:

• FIRM

firm which went bankrupt in 1800, He then established a pianoforte and See also:

• MUSIC

music business of his own; under the name of Clementi & Co . Other members were added to the firm, including Collard and See also:

• DAVIS (or DAVYS), JOHN (1550 ?-16o5)
• DAVIS, ANDREW JACKSON (1826—1910)
• DAVIS, CHARLES HOWARD (1857- )
• DAVIS, CUSHMAN KELLOGG (1838-1900)
• DAVIS, HENRY WILLIAM BANKS (1833- )
• DAVIS, HENRY WINTER (1817-1865)
• DAVIS, JEFFERSON (1808–1889)
• DAVIS, THOMAS OSBORNE (1814–1845)

Davis, and the firm was ultimately taken over by Messrs Collard alone . Amongst his pupils on the pianoforte during this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period may be mentioned See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

Field, the composer of the celebrated Nocturnes . In his See also:

• COMPANY

company Clementi paid, in 1804, a visit to Paris, Vienna, St See also:

• PETERSBURG

Petersburg, See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin and other cities . While he was in Berlin, See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer became one of his pupils . He also revisited his own country after an See also:

• ABSENCE (Lat. absentia)

absence of more than See also:

• THIRTY

thirty years . In 1810 Clementi returned to London, but refused to See also:

• PLAY

play again in public, devoting the See also:

• REMAINDER, REVERSION

remainder of his See also:

• LIFE

life to See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . Several symphonies belong to this time, and were played with much success at contemporary concerts, but none of them seem to have been published . His intellectual and musical faculties remained unimpaired until his See also:

• DEATH

death, on the 9th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1832, at See also:

• EVESHAM

Evesham, See also:

• WORCESTER
• WORCESTER, EARLS AND MARQUESSES OF
• WORCESTER, JOHN TIPTOFT, EARL OF (1427—1470)
• WORCESTER, WILLIAM (c. 1415-c. 1482)

Worcester . Of Clementi's playing in his youth, See also:

• MOSCHELES, IGNAZ (1794–1870)

Moscheles wrote that it was " marked by a most beautiful legato, a supple See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch in lively passages, and a most unfailing technique." Mozart may be said to have closed the old and Clementi to have founded the newer school of technique on the piano . Amongst Clementi's compositions the most remarkable are sixty sonatas for pianoforte, and the See also:

• GREAT

great collection of Etudes called See also:

• GRADUS, or GRADUS AD PARNASSUM (a step to Parnassus)

Gradus ad Parnassum .