Clementi: Sonata in F minor, Op. 13 No. 6 - CD

“Shelley's third volume (of six projected) makes abundantly clear that Clementi at best was an outstanding composer. He tempers the virtuoso finger-dexterity of the 'mechanicus' with sensitive expressiveness, including moments of wonderfully luminous half-pedalling, and meticulous balance to expose inner motifs. He's well served by lively and immediate recording.” BBC Music Magazine, May 2009 *****

“…it would be difficult to imagine all these works, whether slight or distinguished, given with greater skill, zest and affection. Every finger-twisting challenge is met with effortless ease, energy and grace, and Hyperion's sound is, as usual, of demonstration quality.” Gramophone Magazine, June 2009

“This is powerful, original music in its own right, not a mere anticipation of greater things to come. The adagio of Op 23, No 2, shows Clementi, who was called “the father of the pianoforte” on his gravestone, a master of the art of drawing riches from a three-note tag by subtle variations of harmony and texture. Even the pieces written to amuse the young lady pianists of London have striking energy.” Sunday Times, 28th June 2009 ***

“There are several gems in this collection, especially the Sonata in F minor Op 13 … the other sonatas here are also works of real quality and certainly worthy of comparison with the galant keyboard sonatas of Mozart and Haydn … Clementi’s sonatas have been neglected for too long: these are not mere virtuoso showcases but works with a real sense of structure and motivic development, with an astonishing inventiveness of keyboard figurations and ideas, and with a melodic fecundity that never ceases to amaze. Shelley’s articulation is impeccable and the technical intricacies pose no challenges … with performances of this commitment, with two discs for the price of one, immaculate sound from Hyperion and booklet notes by Leon Plantinga, this comes with the strongest recommendation” International Record Review

“The third volume of Howard Shelley's invaluable survey of Clementi piano sonatas confirms every expectation. Once more you are left to marvel at his unfailing brilliance and musicianship, qualities that can lift and enliven even the most predictable and mechanical gestures.
There may be possible thefts from Mozart (who disliked Clementi) and prophecies of Beethoven but, more generally, it would be difficult to imagine all these works, whether slight or distinguished, given with greater skill, zest and affection.
Every finger-twisting challenge is met with effortless ease, energy and grace, and Hyperion's sound is, as usual, of demonstration quality.” Gramophone Classical Music Guide, 2010

“…a fair claim to being the most desirable introduction to the music of Clementi in the catalogue… The Sonatas are all considerable works, and Staier’s flexibility of style brings out their individuality strongly” Penguin Guide ***

“One's inclined to think of Clementi as a rather dry composer, however brilliant, but there's nothing remotely dry about this CD, which is full of expressive and often powerful music. Partly it's the instrument: on the fortepiano Clementi's music has a sharpness of impact that it lacks on a modern grand, and also a gently poetic, often almost mysterious ring that carries overtones of early Romanticism, especially in some of the slower music. But the chief responsibility belongs with Andreas Staier, who's clearly fired by the music and discovers so many layers of expression in it.
Essentially he plays three sonatas with a framework of single pieces surrounding them. Two of those pieces come from Clementi's MusicalCharacteristics, a group of short preludes published in 1787 and imitating Haydn and Mozart as well as Sterkel, Kozeluch and Vavhal. Interestingly, these lively pieces indicate the features of the two composers that Clementi regarded as distinctive. Then there's a Capriccio, a charming piece demanding (and receiving) crisp and athletic fingerwork. The final item is a brilliant and imaginative fantasy on Au clair de lune, which Clementi varies in some highly inventive ways.
This is a late work, from about 1820, and its style is comparable with mature Beethoven.
Of the three sonatas, the last (Op 33 No 2, 1794) is an elegantly written piece, in effect in two movements. Staier is masterly in his command of Clementi's dialectic and of the slightly quirky character of some of his themes, as in the first movement's finale. Op 34 No 2 is a big G minor work: its Adagio draws beautifully shapely and pointed playing from Staier, and the finale, another elaborate and extended movement, is impassioned music, powerfully done. The first of the sonatas, the earlier F minor work (1785), seems in some ways the most 'Romantic' in tone, with its Allegro agitato carrying hints of menace and darkness (enhanced by Staier's sensitive pedalling and misty textures), its eloquent Largo, where the melodic line is enunciated with real pathos, and its stormy final Presto. In all, Staier's reconciliation of the poetic and imaginative content of this music, with his command of its structure and its arguments, makes this one of the most impressive fortepiano discs in memory.” Gramophone Classical Music Guide, 2010

“Rarely have I heard an early piano played with such sensitivity to atmosphere and with such magical tonal variety. He also makes a glorious sound, underpinned by a seamless cantabile that glows throughout like an iridescent pearl.” BBC Music Magazine, April 2006 *****

“Staier produces feats of articulation that would be impossible on a concert grand and his energy proves infectious” The Guardian