Muzio Clementi and British Musical Culture Sources Performance Practice and Style 1st Edition by Luca Sala ISBN 1315206935 9781315206936

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ISBN 10: 1315206935

ISBN 13: 9781315206936 

Author: Luca Sala 

Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British composers of this period, scholars have begun to explore the web of reciprocal relationships between the societal, economic and cultural dynamics arising from the industrial revolution, the Napoleonic wars, and the ever-changing contours of British music publishing, music consumption, concert life, instrument design, performance practice, pedagogy and composition. Muzio Clementi (1752–1832) provides an ideal case-study for continued exploration of this web of relationships. Based in London for much of his life, whilst still maintaining contact with continental developments, Clementi achieved notable success in a diversity of activities that centred mainly on the piano. The present book explores Clementi’s multivalent contribution to piano performance, pedagogy, composition and manufacture in relation to British musical life and its international dimensions. An overriding purpose is to interrogate when, how and to what extent a distinctive British musical culture emerged in the early nineteenth century. Much recent work on Clementi has centred on the Italian National Edition of his complete works (MiBACT); several chapters report on this project, whilst continuing to pursue the book’s broader themes.

Table of contents:

Introduction
Chapter 1. Britain and Europe in the Time of Clementi: Cosmopolitanism and Perceptions of National Culture
Chapter 2. Clementi in London
Chapter 3. The Dissemination of Muzio Clementi’s Output Beyond England: Issues of Authenticity and Textual Problems in Vienna (1787–1799)
Chapter 4. Clementi’s Introduction in European Musical Life, 1801–1830
Chapter 5. Inventions and Ideas on the Peripheries of British Piano Design Between 1752 and 1832
Chapter 6. Shedding Light on Late Eighteenth-Century British Piano Performance Style Through Clementi’s Edition of Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano-Forte
Chapter 7. Towards a New Edition of Clementi’s ‘Viennese’ Sonatas, Opp. 7–10: Contemporary English Sources and the Problem of Revision
Chapter 8. Association by Design: Clementi’s Musical Characteristics
Chapter 9. Clementi and the Tambourine: The Waltzes Opp. 38–39 in the Context of Domestic Music-Making in Early Nineteenth-Century Britain
Chapter 10. Clementi’s Minor-Mode Keyboard Music and the Rhetoric of ‘Ancient Style’
Chapter 11. Locating the Early-Romantic British Piano Concerto: William Sterndale Bennett and His Contemporaries

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Tags: Luca Sala, Muzio Clementi, British, Musical Culture, Sources, Performance Practice, Style