Clementi: Piano Sonata in E flat major, Op. 11

This is the second volume in a complete chronological survey of the Clementi sonatas which we hope to complete in six ’2 for the price of 1’ double CD sets released over the next three years. After the somewhat frivolous delights of Volume 1, Volume 2 displays Clementi in more serious and weighty form. The selection recorded here, particularly the Op. 12 sonatas, is of pieces that aim for depths of expression seldom encountered in the composer’s earlier music.

Muzio Clementi was for much of his long career one of the most famous musicians in Europe. Around the turn of the nineteenth century his public esteem was probably second only to that of Haydn, and, a decade or so later, Beethoven. But unlike the reputations of these other two, Clementi’s fame as a musician rested almost solely upon his exploits, as both player and composer, at a single instrument, the piano. And the vast majority of his compositions are sonatas for that instrument. This is a fascinating body of work which spans European musical life from Scarlatti to Chopin.

Period-performance practice. The fortepiano is a Kirckman, 1798 (Collection Edwin Beunk, Enschede).

Booklet notes.

Recording made in 2008.

Muzio Clementi (1752–1832) is one of the most colourful and influential musical figures of the past 200 years. Born in Rome, he grew up in Dorset, with the family of Peter Beckford, who in effect bought the boy from his father. The agreement was to provide him with an English gentleman’s education and upbringing. Clementi grew up during the period that saw the end of the baroque, and the beginning of the classical age in music. His influence upon younger composers was marked. Beethoven’s early piano sonatas show that he had a thorough knowledge of those by Clementi. Clementi was also a publisher, and struck up a lucrative business relationship with Beethoven. The works on this 3CD set are from his early years, and by and large do not contain the revolutionary music of the op. 40 and 50 sonatas. However, the op.11 sonata with its toccata movement is a remarkable work for 1784. It probably also existed as a piano concerto, as the left hand has some very difficult running figuration, providing almost orchestral texture and colour. Also of note is the first of four Capriccios Clementi composed. The last two are large works of 20 minutes duration each. This 1787 is a more modest affair, and is based on two popular songs of the time. It is easy on the ear salon music, very different to the groundbreaking works that would shortly follow.