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According to Peter HB@ @ @ BeckfordHB@ @ @ M HB@ @ @ DsHH own forthright explanation, he HHM HH-bought Clementi of his father for seven yearsHHM HHF, and in late 1766 or early 1767 brought him to his country estate of HB@ @ @ SteepletonHHD HB@ @ @ Iwerne,HH just north of HB@ @ @ BlandfordHO" Forum in Dorset; here the young musician spent the next seven years in solitary study and practice at the harpsichord. His known compositions from the Rome and Dorset years, written before the age of 22, are few: an oratorio and possibly a mass (neither survives) and six keyboard sonatas.HdPIdtA+DPBrkA,DPSpcA#CSEnd--3iy@PPA*A*@.q4@music.40033.P2-/ ;5.0 q1A-@1 0y-@2:A*A 7PA(FFpA@BA3CA3DHHGIt was apparently in 1774 that Clementi, freed from his obligations to HB@ @ @ Beckford,HHr moved to London. His first known public appearances were as solo harpsichordist at benefit concerts for a singer HB@ @ @ (Bonpace)HH and a harpist (Jones) in spring 1775. In the ensuing four years his participation in London concert life was minimal. During part of this time he was HHM HH conductorHHM HHD HH(from the keyboard) at the KingHHM HH s Theatre, HB@ @ @ Haymarket.HHJ His name was seen in concert programmes with increasing frequency in 1779HHM HH;80, no doubt partly owing to the popularity of his sonatas HB@ @ @ op.2,HH first published by HB@ @ @ WelckerHHT in spring 1779. That Clementi was playing these pieces in public, particularly the HHM HH octave lessonHHM HHD HB@ @ @ Gop.2HHD HB@ @ @ no.2,HH; is suggested by an entry in the satirical musical lexicon @HABC @B@ @ @ Dario@HE @B@ @ @ MusicoHH (Bath, 1780): HdPIdtA+DPBrkA,DPSpcA#CSEnd-3?A-iy@PPA2A2@4.A@@music.40033.P335 /A46 q7A3@7 6y3@89(A` @ Blockquote`@@@Y@Am@` #A9y) :A:HPA(FFz4A@CHHQIn addition to the six keyboard sonatas (three with accompanying instruments) of HB@ @ @ op.2,HH8 nine more accompanied sonatas and three keyboard duets HB@ @ @ (opp.3HH and 4) were published in 1779HHM HH580, as well as a set of variations on an Irish tune, @HThe Black JokeHH , in 1777.HdPIdtA=DPBrkA,DPSpcA#CSEnd>lDAA>@@4AH@music.40033.P4?A 5I@B qCA?@C By?@DEA>HPA8FFPA@CHO!In that city he was received with enthusiasm, and had the honour to play before the Queen, who bestowed upon him the most unqualified applause. The warmth of French praise, contrasted with the gentle and cool approbation given by the English, quite astonished the young musician, who used HB@ @ @ jocoselyHHF to remark, that he could scarcely believe himself to be the same man.HdPIdtA;DPBrkA,DPSpcA#CSEndE FADAQ A(@CHH>We have little evidence independent of this report bearing on HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH performance for Marie HB@ @ @ AntoinetteHOw in 1780. But there is ample documentation of his appearance before her brother, Joseph II, in Vienna on 24 December of the following year. This was the occasion of the famous piano contest with Mozart staged by the emperor for the amusement of his guests, the Grand Duke (later Tsar Paul I) and Duchess of Russia. Both Mozart and Clementi left accounts of the event (though HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH! survives only through his pupil HB@ @ @ LudwigHHD HB@ @ @ Berger),HH and they are in substantialHH agreement: the two musicians were called upon to improvise and to perform selections from their own compositions; then at the Grand DuchessHHM HH*s request they played at sight sonatas of HB@ @ @ Paisiello,HHD HHM HHwretchedly written outHHM HH, Mozart said, HHM HHin his own handHHM HH. It is not known what of his own works Mozart played, but Clementi later identified two of his compositions heard that evening, the Toccata HB@ @ @ op.11HH and the Sonata HB@ @ @ op.24HHD HB@ @ @ Gno.2HH (whose opening resembles MozartHHM HHs overture to @HDie @B@ @ @ Zauberfl@B@ @ @ E@B@ @ @ EteHB@ @ @ D,HHJ written ten years later). On 12 January 1782 Mozart wrote to his father: HHM HHqClementi plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in HB@ @ @ 3rds.HH Apart from that, he has not a HB@ @ @ kreuzerHB@ @ @ M HB@ @ @ DsHH worth of taste or feeling HHM HHD HHin short he is a mere HB@ @ @ mechanicusHB@ @ @ M HB@ @ @ D.HHH Later his opinions seemingly had hardened; on 7 June 1783 he declared: HHM HH*Clementi is a charlatan, like all ItaliansHHM HH. Sentiments such as these, HB@ @ @ publicizedHHG in HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH last years, surely contributed to the precipitous decline of his reputation, and have become a permanent part of the lore surrounding him. HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH impressions of MozartHHM HH2s performance were rather different; according to HB@ @ @ BergerHHD HB@ @ @ E(@B@ @ @ CaeciliaHB@ @ @ D,HH x, 1829, p.238) he recalled: HHM HHCUntil then I had never heard anyone play with such spirit and graceHHM HHD.HdPIdtA=DPBrkA,DPSpcA#CSEndF?LAEA KPA(FF~A@BAGCAGDHHAfter leaving Vienna in May 1782 Clementi travelled by way of Switzerland to Lyons, where he acquired several pupils, including ÂHB@ @ @ VictoireHHD HB@ @ @ Imbert-ColomHB@ @ @ DHB@ @ @ Es,HH\ daughter of a wealthy merchant there. Back in London in autumn 1783, he accepted the young HB@ @ @ GJ.B.HHD HB@ @ @ CramerHH as his pupil, and the following spring plunged into a full schedule of concerts as the regular keyboard soloist for the newly HB@ @ @ reorganizedHH Hanover Square Concerts. At the height of the season, however, he abruptly departed once more for France. In Lyons he embarked on an elopement with the 18-year-old Mlle HB@ @ @ Imbert-ColomHB@ @ @ DHB@ @ @ Es,HHI but her father put a stop to it and the disappointed pianist retired to HB@ @ @ BerneHH6 for solace and solitude. A letter to his father from HB@ @ @ BerneHHݿ shows that Clementi was still there in August 1784. He may then have paid a visit to his family in Rome, but by May 1785 he was back in London, to remain there for many years. During this time of travel and turmoil (1780HHM HH*85) Clementi produced some 26 new sonatas HB@ @ @ (opp.5HB@ @ @ M HB@ @ @ F13)HHf and various other compositions for keyboard; some of his most memorable music dates from this period.HdPIdtA+DPBrkA,DPSpcA#CSEnd-GMA?iy@PPAFAF@H@AN@music.40033.P5GI AOHJ qKAG@K JyG@L!RAFA QPA(FF`A@BAMCAMDHHFrom 1785 until 1802 Clementi remained in London and achieved great eminence first as a composer, performer and teacher, and later as a publisher and instrument manufacturer. Named HHM HH principal composer and performerHHM HHD HHat the Hanover Square Grand Professional Concert (as they were now called) in 1786, he appeared as piano soloist in these programmes as well as in the rival series of La HB@ @ @ Mara-SalomonHHe until 1790. During these years he also frequently performed in the annual round of benefit concerts HHM HHD HH.the beneficiary being the principal performer HHM HHD HHand in the conceHHrtos presented between acts of oratorios at Covent Garden. Like nearly all solo keyboard players he invariably performed his own works, for the most part sonatas and keyboard concertos. In 1786HHM HH96 he also appeared regularly as conductor (from the keyboard) of his symphonies; only two of these earlier symphonies, published in 1787 as HB@ @ @ op.18,HH have survived. HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHHݿ last clearly documented solo performance in a public concert took place in May 1790, and after 1796 he also ceased for almost 20 years to conduct his symphonies in public. The concert seasons Haydn spent in England (1791HHM HH 2 and 1794HHM HH*5) unequivocally established the LondonersHHM HHD HHWpreference for his music, and Clementi was one of several composers whose careers were HB@ @ @ jeopardizedHH7 in a losing competition with the world-famous visitor.HdPIdtA+DPBrkA,DPSpcA#CSEnd-MSAGiy@PPALAL@NHAT@music.40033.P6MO IUNP qQAM@Q PyM@R bALA QQaPA(F.\3@BASCASDHHUClementi was in great demand during this period as a piano teacher; according to Mrs HB@ @ @ Papendiek,HO an attendant at the court of George III, he once refused an application for tuition from the royal family itself. His pupils included members of many well-placed families in London who were willing to meet his reported fee of one guinea per lesson. He also gained fame as a teacher of HHM HH professionalHHM HHD HH students. Among them were J. B. HB@ @ @ Cramer,HH the organist Arthur Thomas HB@ @ @ Corfe,HH3 the violinist and pianist Benjamin Blake, Theresa HB@ @ @ Jansen,HHD HB@ @ @ Benoit-AugusteHHD HB@ @ @ BertiniHH and John Field. The small fortune he amassed during the 1790s he invested increasingly in music publishing and instrument making. Having suffered losses in the bankruptcy of HB@ @ @ LongmanHHF & HB@ @ @ BroderipHHF in 1798, he took advantage of the situation to establish a new firm, HB@ @ @ Longman,HH Clementi & Co. With changes of name to accommodate the occasional coming and going of various partners, this company continued to operate at its HB@ @ @ CheapsideHHP address (and, from 1806, at additional premises in Tottenham Court Road) until HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH1 retirement in 1830. (For further information on HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH( publishing and piano-making activities @HFseeHHD HHAZDHC`HClementiHHAZDHH). Though his increasingly vigorous commercial pursuits left much less time for composition after about 1796, he produced a considerable volume of music during this long stay in London; new publications include about 56 sonatas and HB@ @ @ sonatinasHH for keyboard (many with accompaniments), a number of variations, capriccios and other shorter keyboard works, two symphonies and the influential @H5Introduction to the Art of Playing on the Piano ForteHH (1801). It is clear that a good many compositions from this period, including most of the symphonies brought to performance in London concerts, have been lost.HdPBrkA,DPIdtA+DPSpcA#CSEnd-ScAMiy@PPARAR@TNAd@music.40033.P7SU O[TV qWAS@W VA_AS@ X'A8yd@l@FStoryA8YYAYAmY AmAXASSEnd^Z8 @ ClickHere1\Qy]@PPARARQX@P @P @@[ UeZ\` @CURLS@Q/shared/components/article/article_sourceid_resolver.html?source_section_id=S0593]y^Z^Z_ WAaAZ@j`+8 @ Anchor (A)P@@@@Y@Am@`a _yZ@bhARA gPA(FFjfA@BAcCAcDHO*In 1802, at the age of 50, Clementi embarked on his third European tour, and remained abroad until 1810. This time he went as a representative of his firm, intent on cultivating markets for Clementi pianos and negotiating with composers and publishers for rights to new music. Incidentally, it seems, he also arranged for the publication of some of his own works on the Continent. Accompanying him during the first stage of his travels was his pupil John Field, who, according to generations of biographers of both composers, suffered harsh treatment at HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH hands; this purportedly included a kind of forced labour (demonstrating Clementi pianos to customers) and denial of proper clothing. These alHHMlegations derive from two much later sources: the necrology for Field in the @B@ @ @ Allgemeine@HE @B@ @ @ musikalische@HE @B@ @ @ ZeitungHH" of 1837 and the autobiography of HB@ @ @ SpohrHHN constructed by the composer around quotations from his diaries in the 1850s. HB@ @ @ SpohrHB@ @ @ M HB@ @ @ DsHH unfavourable comments occur not in the diaries dating from his contact with Clementi and Field but in the additions a half-century later; and the Field necrology was carelessly compiled from a variety of secondary sources. The graphic descriptions of HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHHk exploitation and maltreatment of Field are largely embroideries on sources that in themselves are suspect.HdPIdtA+DPBrkA,DPSpcA#CSEnd-ciASiy@PPAbAb@dTAj@music.40033.P8ce [kdf qgAc@g fyc@h#nAbA QQmPA(@BAiCAiDHH!Owing to the vicissitudes of the HB@ @ @ NapoleonicHH9 wars, interrupted commerce and tragic personal affairs, HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHH+ movements during these years were largely HB@ @ @ improvisatory.HHW He travelled extensively in the German states, made two separate trips to Russia (1802HHM HH3 and 1806), two to Italy (1804HHM HH 5 and 1807HHM HH38), and visited Vienna four times (1802, 1804, 1806HHM HH7, 1808HHM HH+10). In September 1804 he married Caroline HB@ @ @ LehmannHH of Berlin, then 19 years old, who died in childbirth the following year. During his travels Clementi acquired various new pupils, some of whom accompanied him: Carl HB@ @ @ Zeuner,HH Alexander HB@ @ @ Klengel,HHD HB@ @ @ LudwigHHD HB@ @ @ BergerHH and HB@ @ @ EFrHB@ @ @ DHB@ @ @ DdHB@ @ @ DHB@ @ @ FricHHD HB@ @ @ KalkbrennerHH (later briefly the teacher of Chopin). A cardinal achievement of these years was the successful negotiation for rights to BeethovenHHM HHbs music. In April 1807 Clementi signed a contract with Beethoven for five major compositions: the HB@ @ @ RasumovskyHH Quartets HB@ @ @ op.59,HHE @B@ @ @ CoriolanHB@ @ @ Overture,HOm the Fourth Symphony, the Fourth Piano Concerto and the Violin Concerto. Difficulties attended the dispatch of the music to London, and the payments made to Beethoven were long delayed; hence only the Violin Concerto was issued as a direct result of the contract. But the agreement became the basis for a continuing arrangement whereby Clementi & Co. issued in 1810HHM HH111 first editions of ten new works of Beethoven. HdPIdtA+DPBrkA,DPSpcA#CSEnd-ioAciy@PPAhAh@jdAp@music.40033.P9ik eqjl qmAi@m lyi@n;tAhA sPA(FFt=A@BAoCAoDHHBack in London in 1810, Clementi resumed personal direction of his firm, in which he held a controlling interest. Despite a disastrous fire of 1807, the company flourished; a financial statement drawn up on 24 June 1811 showed a net value of about HHDHH112,000. Other sectors of HB@ @ @ ClementiHB@ @ @ M HB@ @ @ DsHHG life flourished similarly. On 6 July 1811 he married an Englishwoman, HB@ @ @ GEmmaHHD HB@ @ @ Gisborne,HH who according to HB@ @ @ IgnazHHD HB@ @ @ MoschelesHH was HHM HH:as moderate and placid as he is excitable and effervescentHHM HO. Clementi (now nearly 60) and his wife became the parents of two sons and two daughters. The respect he enjoyed in London in these years was shown in that he was named one of the six directors of the Philharmonic Society on its founding in 1813. That institution also provided an opportunity for the performance of his more recent, unpublished symphonies, and for his re-emergence as a public musician. Until 1824 he often appeared in Philharmonic concerts as a conductor from the keyboard, often in his own symphonies. On occasion he participated in other musical events, for example five concerts of a new series, the Concerts of Ancient and Modern Music, in 1824, when his works were heard in conjunction with those of an Italian precisely 40 years his junior, Rossini.HdPIdtA+DPBrkA,DPSpcA#CSEnd-ouAiiy@PPAnAn@pjAv@music.40033.P10oq kwpr qsAo@s ryo@tzAnA yPA(FFA@BAuCAuDHHǿAfter 1810 Clementi made four further visits to the Continent, two of them extended. The purpose of these visits, for the most part, was to present his orchestral music to European audiences. In 1816HHM HHB17 he presided over performances of his symphonies at the Concert HB@ @ @ SpirituelHH6 in Paris, and in 1822 he conducted three more at the HB@ @ @ GewandhausHH in Leipzig; these latter can be identified among the symphonies for which autograph fragments survive in the Library of Congress. But the HB@ @ @ agingHH composerHHM HH+s persistent efforts to make his mark as a HB@ @ @ symphonistHH were hardly a success. For after 1824 his works disappeared from the concert stage in England and elsewhere, forced out this time, in large part, by BeethovenHHM HHs symphonies. As in his earliest days as a composer, Clementi was still at his best in keyboard music. His large-scale sonatas HB@ @ @ op.50,HHY though probably nearly complete by 1805, appeared in 1821, and the three volumes of his @H Gradus ad @B@ @ @ ParnassumHHD HHM HHD HH5a monumental compendium of his work from all periods HHM HHD HH&were published in 1817, 1819 and 1826.HdPIdtA+DPBrkA,DPSpcA#CSEnd-u{Aoiy@PPAtAt@vpA|@music.40033.P11uw q}vx qyAu@y xyu@z#AtA a(FFPA@BA{CA{DHOIn 1830 Clementi retired from his firm, and at about this time he and his family moved to Lichfield, Staffordshire. Soon after they moved once more, some distance to the south, to Evesham in Worcestershire. There Clementi drew up his will on 2 January 1832; on 10 March, after what was described as a brief illness, he died at the age of 80. His funeral on 29 March filled Westminster Abbey, and he was buried with great ceremony in the cloisters.HdPIdtA+DPBrkA,DPSpcA#CSEnd-{quiy@PPAzAz@|v@music.40033.P12{} w|~ qA{@ ~y{@AzA PA(FFQ&A@CHHDHHD HHADHC`HOxford University PressHHADHH 2004H[HdPIdtA+DPBrkA,DPSpcA#CSEnd "qXyd@l@DStoryqXYAAm AmAASSEnd^8qZ @ ClickHere2Qy]@PPAAQ@P @P @@}y @CURL@http://www.oup.com qA@ y@+qAQ (FF(A@ATPBrkA,CSEnd yP AAA @@PXx qE@DA@ @ AAA @@PXx qRP BA@ @ AAA @@PXx qhBMBA@ @ qAA @@PXx qPBA@ @H$@P@P P P DiEa H@H@@P@@P@@PPpPP`@p@P P tc@ADQGAOALQPQHATANAYAZAVAUAWAXA\A[A^A_A`AaAbAIAJAKAQARASAM@ dAeAfAcAgAhAiAjP@P cpcP cpcH dP@Q cpcUUH cpcP@QHdP@QTT cpcP@QTT cpcP@QH dP@QUUH cpcP@QHdP@QH pcPaH pcP`cpcPaH cpcPa{H dP@QH xc{H xdP@P@@Times New RomanHWH @ Arial Black H@Arial H@ MS Sans Serif H @ Wingdingsh@@ HGH@@p@@_i]AAQrys@@George P. 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