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Muzio Clementi (1752-1832): Caprices et Variations

00:00 Capriccio in B-flat major, Op. 17 06:49 Capriccio in A major, Op. 34, No. 3 14:01 Capriccio in F major, Op. 34, No. 4 22:37 Capriccio in E minor, Op. 47, No. 1 Adagio, Allegro agitato - Adagio sostenuto - Allegro vivace 41:49 Capriccio in C major, Op. 47, No. 2 Adagio sostenuto, Allegro con espressione e passione - Adagio cantabile - Allegro vivace 1:00:17 The Black Joke, with 21 Variations, Wo2 1:14:13 Sonata ¨La Chasse¨, Op. 16: Allegro - Andante vivace - Allegro assai 1:23:06 Twelve Monferrinas, Op. 49: Allegro - Allegro non troppo - Allegretto con espressione - Allegretto con molto - Allegretto con grazia - Allegro - Allegro vivace - Vivace assai - Allegro moderato - Allegro moderato - Allegro non troppo - Allegro moderato 1:44:04 Fantasie and Variations on 'Au clair de la lune', Op. 48 1:54:05 Variations on 'Batti batti' [from Mozart's Don Giovanni], WO10 2:00:46 Variations on a Minuet by Mr. Collick, WO5 2:06:59 Rondo in B-flat major, WO8 2:11:29 Musical Characteristics, Op. 19: Prelude I alla Haydn - Prelude II alla Haydn - Prelude I alla Kozeluch - Prelude II alla Kozeluch - Prelude I alla Mozart - Prelude II alla Mozart - Prelude I alla Sterkel - Prelude II alla Sterkel - Prelude I alla Vanhal - Prelude II alla Vanhal - Prelude I alla Clementi - Prelude II alla Clementi Howard Shelley, piano Steinway & Sons Recorded in St Sylas the Martyr, St Silas Place, London, on 25-28 October 2010 Late in life Muzio Clementi (1752–1832) accurately observed: ‘I was a young Italian, but now I’m an old Englishman.’ He was born of humble parentage in Rome, was taken to England at the age of thirteen by one Peter Beckford (cousin of William Beckford, the Gothic novelist), and essentially remained there for the rest of his long life. While he had received attentive musical instruction as a boy in Rome, and had got a good early start as a composer there, during his seven years at Beckford’s rural estate in Dorset he was on his own. He evidently used his time there to good advantage, practising the works for harpsichord of Domenico Scarlatti, Handel, and Domenico Paradies so assiduously as to become, in the opinion of many, the finest keyboard player of his era. When at the end of 1774 or early 1775 Clementi left Dorset to plunge into the tumultuous musical scene in London, he was only one of a host of Italian and German musicians there who competed for the public’s attention. Keyboard players, it was expected, would perform mainly their own music. Clementi had few compositions to his credit before the move—he had published only his Sonatas Op 1—and London newspapers hardly noticed him during his first couple of years in the city. It was not until 1779, with the publication of the startlingly virtuoso Sonatas Op 2, that he was to attract much notice. But in the meantime, in 1777, his first publication of the London years appeared: ‘The Black Joke, with 21 Variations… composed by Sigr. M. C.’. It is hard to imagine why Clementi should have wished to remain semi-anonymous, for these variations certainly include some of his most attractive music to date. The ‘Black Joke’ is a jig-like Irish folk tune which Clementi presents with a stark single-line accompaniment featuring bits of a tonic pedal-point suggestive of a drone. The variations that follow amount to a kind of anthology of keyboard figurations, some of which—like the fast runs in octaves in variations 10 and 20—were later to make Clementi famous. Patterns of repetition among the minor-key variations (14–15–14, 16–17–16) lend these groupings a certain autonomy as miniature ternary shapes. The final variation is a virtuoso tour de force, with octave figurations in both hands enlivened with poignant chromatic inflections. A decade later Clementi was well established in London musical life, participating alternately, as both composer and performer, in the Hanover Square Concerts and its principal rival, the La Mara–Solomon series. His role in these concerts was varied: he sometimes played his solo sonatas (performing solo sonatas at public concerts was usual only in England); he occasionally played in small ensembles; or he presided at the keyboard for performances of his symphonies (conducting from the keyboard, a remnant of the old basso-continuo practice, was also at this time a lingering English speciality).