Clementa is a brief biography

The piano work of L. Beethoven in the context of musical criticism and performing trends of the late XVIII - first third of the XIX century, candidate of art history Maximov, Evgeny Ivanovich Introduction of the dissertation part of the abstract on the “piano sonata in the work of Clemental and its historical -stylistic parallels” Municipanist Clemente -Virtuosa, teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher and teacher The composer, who made a significant contribution to the formation and development of classical piano sonata.

A contemporary of the Viennese classics, Klemententi twenty years younger than Haydn, four years older than Mozart and at eighteen - Beethoven. He was destined to survive all of them. The holder of the “fiery temperament”, Clement was not only a musician, he conducted successful commercial activities - he was engaged in the manufacture of royal and notation, and therefore in the GG.

As a composer, he wrote a lot of symphonies, piano concerts, chamber-instrumental works. The central place in his creative heritage is occupied by piano sonatas. They cover a large time period. The first sonatas were created simultaneously with the compositions of K. Bach, and the latter with the sonatas of Schubert and Weber. For example, the sonatas in some musical educational institutions were widely published during the lifetime of Clement in England, France, Germany, in some musical educational institutions, in the Prague Conservatory were subject to mandatory study along with the works of such recognized musical authorities as I.

Bach and Mozart1. Nowadays, the piano work of Clementent is in popularity inferior to the heritage of Haydn, Mozart, Beethoven and Schubert. However, interest in it has increased significantly in recent years, which is generally connected with the wider appeal of the performers to the music of composers of the XVIII century, including those whose works were in oblivion for a long time and, it would seem, represented only the historical interest of G.

Wagenzeil, Monn, K. Dittersdorf, L. Mozart, I. Gummel and others. In one of the television interviews, Vladimir Gorovitz said The fact that his acquaintance with the sonatas of Clementa allowed him to evaluate the development of the classical sonata in a new way - from the clavier style of Haydn and Mozart to the piano style of Beethoven, to see the sprouts of the new technique, a new understanding of the instrument, and a new instrumental thematism in the music.

Gorovits, as you know, repeatedly performed works 1 cm. Ludwig Van Beethoven. A brief outline of life and creativity. In gg. She earned high estimates of critics by the recording of a number of sonata opus of the mature and late periods of Clementa’s work by the German pianist Stefan Irmer GG. Klementoma also contributed to the strengthening of attention to creativity, his recent anniversary was also facilitated - from the day of birth, a complete collection of his works from the year in Italy, a special site appeared on the Internet.

Today it has become clear that without research, Clementa Sonat cannot be fully adequately assessed by the evolution of the clavier and piano sonata in the second half of the XVIII - the first third of the XIX centuries. Their study allows you to contribute to the consideration of a number of important historical and theoretical problems. One of them is the problem of the ratio of performing, pedagogical practice and composer creativity at a time when the profession of a virtuoso instrumentalist has just begun to acquire independence.

Another problem is created by a deep rooting of the Clement -Clement style as, indeed, most composers - his contemporaries in the style of the era, numerous points of contact and intersection with the work of composers of his time. Questions arise: to what extent the manner of Clement had individuality; What was his original contribution to the development of the sonata and - wider - piano music.

The only monographic work specially dedicated to Clement is a dissertation written in the year 2 in the catalog of A. Tyson is OR. Thematic Catalogue of the Works of Muzio Clementi. Tutzing, Schneider, the book of the same author published in the year is based on its material. The changes that occurred in the domestic and foreign music studies for the expired almost seventy years since the writer of the dissertation of Nikolaev in terms of the methodology and degree of study of music of the 18th century led to the need to reconsider and expand the view of the creativity of the composer.

The emergence of a dissertation dedicated to the sonata creativity of Clement, was also caused by the desire to fill the gap to some extent in the study of classical heritage, first of all, in domestic musicology, to attract the attention of performers-instrumentalists to original music with indisputable artistic merits. The main objective of the dissertation is to study the piano mudfannas in detail by Clement, revealing their typical and individual -style features, and thereby contribute to the characterization of the classical sonata.

Scarlatti, K. Bach, I. In addition to musical material, we turned to 5 Nikolaev A. Mucio Clement. Life, activity, piano creativity. In the preparation of the dissertation, publications from the funds of the Russian State Library named afterLenin Moscow, Moscow State Conservatory. Tchaikovsky, State Central Museum of Musical Culture. Glinka, the All -Russian State Library of Foreign Literature named after Rudomino, Russian National Library.

Saltykova-Shchedrin St. Petersburg, Berlin State Library, Library of the American Music Society. The degree of study of the work of Clement in foreign and domestic music knowledge is different. During the lifetime of Clement, his activities in different areas caused sustainable attention of contemporaries announcements and reviews in periodicals, articles and essays in special literature.

After the death of Clement, interest in his work fades away, he is remembered only as an outstanding virtuoso and the largest teacher, and only in the 20th century he arises again. In the domestic musicology, in addition to the A. Nikolaev’s dissertation mentioned above, individual clamps of Klementa were the subject of analysis in the dissertations of I. Baranova, R.

Misitova, M. The other state of affairs - in foreign musicology, where a textologically verified basis for the study of the work of Clementa has now been created, reliably dated and attribute to it The works compiled by R. Allrto and A. The index of Allrto, built in chronological order, contains incipes of all the first parts, the pace and size of the rest of the parts.

It also contains valuable data on almost one hundred and fifty publications of 7 Baranov I. characteristic features of the XIX century: Author of Diss. The piano sonata of the 19th century to the problem of the historical typology of early romanticism: Diss. The errors and inaccuracies of this pointer were subsequently corrected by Tyson - one of the most authoritative modern textologists of the 18th century, which also owns research on the dating of Mozart's works.

The Tyson catalog is divided into three departments: published works indicated by the opus; published without opus and unpublished. It noted not only the numbers of opus, but also the initiations, the date of the first edition and reprints, as well as the incipes of all parts of the multi -part works. In foreign scientific literature dedicated to the work of Clement, the monographs of M.

Unger, J. Paribeni and L. appeared earlier than others, M. Unger 19, is valuable source work. It contains in detail the biography of Clement, extensive quoted its epistolary heritage, given data on the activities of the publishing company organized by him, including the publications of his own works. The characteristics of music, the analysis of the works in it is practically absent.

The work of J. Paribeni10 combines a biographical essay and a detailed discussion of the works of Clement. Much attention is paid to the influence of Clementa on Beethoven and the consideration of some sonata as transcriptions of his own symphonies and concerts of the composer. Paribeni was practically the first to raise the question of the role of Clemental for the further development of piano music.

Subsequently, the establishment of historical-style parallels with the works of contemporary composers was also interested in other musicologists, in particular L. Planning, who wrote about the similarity of the polyphonic letter of Clement and I. Bach and the points of contact of the virtuoso texture of Klententa and D. Saint-Fua, A. Muzio Clementis Leben, K. Muzio Clementis Leben, Langensalza, H.

Milano, the most closely with the topic of our dissertation are the studies of J. Dipiaza and A. The dissertation of the dipiasis14 describes the features of the English piano chapter I, a number of texture features, melodies, harmony and forms in the sonatas Chapter II are described, some issues of the development of piano technology chapter III were considered, a review of old and modern publications was made Clementievsky sonata Chapter IV is presented by their summary table Chapter V, which distinguishes the three main genre groups: “artistic”, “technical” and “pedagogical” compositions.

The proposed classification is convenient for performing and pedagogy, but does not reveal either stylistic and genre moments, nor the peculiarity of the creative appearance of the composer. One of the interesting works of the last time is the monograph by A. Gerhard15, where the piano works of Clemental are considered as an example of the so -called “absolute” that is, non -gram music, in the aspect of conceptual differences between the London instrumental art of the X and Vienna classics.

For the historical reconstruction of the context of Clement's work, the research of domestic scientists, primarily by A. Alekseev, S. Grokhotov, E. Dukova, L. Kirillina, S. Stukolkina, and out of 1 7 foreign researchers - S. Makvei and V. For our dissertation research, were important work, however, essential for understanding the composite thinking of the compositional thinking of Clement -Clement of Clement, from 1,7 foreign researchers.

And his attitude to the theory of his time.