Canonic opening in the last movement with two two-voiced layers. Pretty awesome movement, also if you consider what sort of sonatas Haydn and Mozart composed back in the 1780s. And Beethoven wasn't even a thing yet.
Clementi usually makes frequent use of canons in his piano music: Sonata in G Minor, Op. 34 No. 2, 3 part: two-voice canon in the lower octave from bar 198; Sonata in G major, Op. 40 No. 1: the second part is written in a complex three-part form with a trio (da capo) and in a total canonical presentation; there are two canons, and the canon in the middle part (trio) is in circulation; Sonata in D major, Op. 40, No. 2, part 3 - repeated inclusions of the canonical presentation; Sonata in G minor, Op. 50 No. 3, "Abandoned Dido": canons in the development of the first movement and at the beginning of the development of the third movement (it, like the first movement, was written in sonata form). As you can see, Clementi often used the canons in the final parts of the cycles, although not only in them. The fluidity of the canonical presentation, its linearity is very suitable for the rapid movement and developmental type of presentation. I read in a biographical brochure about Clementi that he studied composition and counterpoint with an Italian church composer (it seems that in Rome, I already forgot the name of this composer) and he said that if Clementi had studied polyphony (counterpoint, as they said then ) another year, he would have become a stronger polyphonist than his teacher. It is also written there that Clementi could improvise a fugue, as if he did so in front of the Austrian Emperor and his courtiers, in particular, the poet and composer Baron van Swieten, when he improvised a cycle of variations on a given theme, crowned with a fugue.
@@Leonid1969-e8d I studied Clementis work for quite some time and it's full of treasures. His early fugues also demonstrate is incredible prowess in counterpoint, I'd recommend everybody to listen to them. I think it's his Op. 5, if I remember correctly. My favorite sonatas though are actually those that use very little counterpoint, his Op. 7 and 8 in particular. These sonatas are so dense and expressive, it's just great piano music and definitely on the same level as Haydn or Beethoven. On the contrary, Beethoven and Haydn owe many stylistic features to these sonatas.
@@Leonid1969-e8dIndeed he studied with Carpani and Santarelli in Rome. The heritage of the Roman school was essential in his development as a composer. It should also be noted that he was appointed organist of S. Lorenzo in Damaso (where by the way he was also baptised) at the age of 14, and this attitude resonates throughout all his piano music, not only in terms of counterpoint, but also in the clarity of voicing and in many of his powerful bass lines.
Какой Великий Мастер Клементи, недаром намного обращали внимание Бетховен, Моцарт и другие композиторы, он незаслуженно забыт, а ведь в его музыке прекрасно отображены: форма, контрасты, фразировка, динамика, новые интересные пианистические приемы, музыка его живая и одухотворённая, замечательно выстроена и начало, почти Доменико Скарлатти, который родился в один год с Великими Бахом и Генделем - 1685 г, скорее всего это как вариации на тему Сонаты Скарлатти, который, как и его знаменитый отец Аллесандро, внесшие в музыкальную сокровищницу свои труды..
![Richard Wagner - Piano Sonata in A-flat, WWV. 85 (1853) [Score-Video]](http://i.ytimg.com/vi/-gjbxJsg8mY/mqdefault.jpg)
![Richard Wagner - Piano Sonata in A-flat, WWV. 85 (1853) [Score-Video]](/img/tr.png)
The upper main theme of the 3rd movement is almost the same as the famous melody from Beethoven's 3rd Symphony Mov. 4 !!
wonderful sonata
Excellent!
second movement is very profound.
Canonic opening in the last movement with two two-voiced layers. Pretty awesome movement, also if you consider what sort of sonatas Haydn and Mozart composed back in the 1780s. And Beethoven wasn't even a thing yet.
Clementi usually makes frequent use of canons in his piano music: Sonata in G Minor, Op. 34 No. 2, 3 part: two-voice canon in the lower octave from bar 198; Sonata in G major, Op. 40 No. 1: the second part is written in a complex three-part form with a trio (da capo) and in a total canonical presentation; there are two canons, and the canon in the middle part (trio) is in circulation; Sonata in D major, Op. 40, No. 2, part 3 - repeated inclusions of the canonical presentation; Sonata in G minor, Op. 50 No. 3, "Abandoned Dido": canons in the development of the first movement and at the beginning of the development of the third movement (it, like the first movement, was written in sonata form). As you can see, Clementi often used the canons in the final parts of the cycles, although not only in them. The fluidity of the canonical presentation, its linearity is very suitable for the rapid movement and developmental type of presentation.
I read in a biographical brochure about Clementi that he studied composition and counterpoint with an Italian church composer (it seems that in Rome, I already forgot the name of this composer) and he said that if Clementi had studied polyphony (counterpoint, as they said then ) another year, he would have become a stronger polyphonist than his teacher. It is also written there that Clementi could improvise a fugue, as if he did so in front of the Austrian Emperor and his courtiers, in particular, the poet and composer Baron van Swieten, when he improvised a cycle of variations on a given theme, crowned with a fugue.
@@Leonid1969-e8d I studied Clementis work for quite some time and it's full of treasures. His early fugues also demonstrate is incredible prowess in counterpoint, I'd recommend everybody to listen to them. I think it's his Op. 5, if I remember correctly. My favorite sonatas though are actually those that use very little counterpoint, his Op. 7 and 8 in particular. These sonatas are so dense and expressive, it's just great piano music and definitely on the same level as Haydn or Beethoven. On the contrary, Beethoven and Haydn owe many stylistic features to these sonatas.
@@Leonid1969-e8d Excelente explicación. Realmente esclarecedora desde el punto de vista musical e histórico. Muchas gracias
Debo agregar que me parece esta una hermosa versión de Maria Tipo. Me gusta la de Vladimir Horowitz
@@Leonid1969-e8dIndeed he studied with Carpani and Santarelli in Rome. The heritage of the Roman school was essential in his development as a composer. It should also be noted that he was appointed organist of S. Lorenzo in Damaso (where by the way he was also baptised) at the age of 14, and this attitude resonates throughout all his piano music, not only in terms of counterpoint, but also in the clarity of voicing and in many of his powerful bass lines.
The opening sounds like Scarlatti!
Yes it is almost exactly a quotation of Scarlatti’s Sonata in F minor K466. I think it must be intentional.
3:28
Какой Великий Мастер Клементи, недаром намного обращали внимание Бетховен, Моцарт и другие композиторы, он незаслуженно забыт, а ведь в его музыке прекрасно отображены: форма, контрасты, фразировка, динамика, новые интересные пианистические приемы, музыка его живая и одухотворённая, замечательно выстроена и начало, почти Доменико Скарлатти, который родился в один год с Великими Бахом и Генделем - 1685 г, скорее всего это как вариации на тему Сонаты Скарлатти, который, как и его знаменитый отец Аллесандро, внесшие в музыкальную сокровищницу свои труды..
Hi