What magnificent music Clementi produced. This concerto begins with fantastic grace and elegance. The sensitivity and lightness of the melody transports us out of our real existence. There are moments of greater musical intensity interspersed with others of divine delicacy, linked in a sublime way. The concerto is fabulous and amazing. The pianist is outstanding in the sensibility and cadence he imprints on the music he performs. This concerto is one of the most fantastic pieces I have heard so far. The orchestra and its direction are superb. Thanks for recording this unforgettable masterpiece.
Well said; all true. But compare with the performance of Els Biesemans on fortepiano @ ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-eFBzyr0sRto.html - -
it was the pianist Wladimir Horowitz (1903-1989) who stood up for the composer Clementi and played his best sonatas in concerts and recording studios. Pietro Spada has since released a recording of the entire piano work; by Howard Shelley and Costantino Mastroprimiano there are recordings of all piano sonatas. Pianists such as Arturo Benedetti Michelangeli and Maria Tipo also have interpretations worth listening to, Andreas Staier , Stefan Irmer and Lilya Zilberstein contributed.
Me parece extraordinariamente importante para los amantes de la música, la difusión que se hace de la obra de estos increíbles músicos, que por algunos detalles incomprensibles de la vida y de la historia, quedaron un poco relegados, no siendo esa una razón para pensar que eran músicos de segundo orden. Muchas gracias por compartir y difundir.
No fueron de segundo orden, es evidente. Fueron ensombrecidos por monstruos como Bach, Mozart, Beethoven. El mismísimo Schubert goza de fama póstuma. A principios del S. XX ha sucedido con Scriabin.
But the description says that it is orchestrated by another composer, Johann Baptist Schenk. So what was the work before Schenk took it on his shoulders to orchestrate it? Was it a sonata for two pianos? or a Sonata which he elaborated on? Anyway it is a sparkling lovely concerto! ❤
Not only classical. I feel it deeply romantic for many reasons (changes of time, of volume and melodies...). Don't you hear your heart and your breathing changing with the music?
The original version of this piece of music is Clementi's Sonata in C major, Op. 33 No. 3, which takes the form of a "concerto without orchestra." Interestingly, a year after that sonata was published, Beethoven published his Opus 2, no. 3 of which takes the form of a "concerto without orchestra" and in the same key. Beethoven was known to have been an admirer of Clementi all his professional life. Did did this particular piece, in its original form, inspire Beethoven's opus 2 no. 3?
Hmm. 🤔. Well how would you rate Clementi as an orchestrator? Would you say that like Chopin (a later "Piano Man"), he shied away from orchestrating either because he wasn't especially adept at it, or perhaps it just wasn't his Thiing?
@@excelsior999 On the contrary, Clementi wrote and directed a number of orchestral works, but unfortunately only three symphonies and little more if I am not mistaken have survived. Sadly, loads of his manuscripts were dumped after his passing, which almost certainly also contained orchestral works, and also some of his piano sonatas appear to have originally been written in the form of symphonies.
Que belleza de concierto y pensar que yo solo conocia a muzio con mis primeras lecciones de piano, nunca investigue sus obras y me deje llevar por un desfortunado comentario sobre èl, te saludo desde MEXICO maestro MUZIO CLEMENTI!!!!!!
Francisco Barajas, foi a tempo! Gosto bastante da música de Clementi, o que não admira, porque gosto de Beethoven, que apreciava a obra para piano do italiano radicado em Londres.
No, we don't need to admire it because it's "Mozartean," but because it is wonderful all on its own. That said, compare with the performance of Els Biesemans @ ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-eFBzyr0sRto.html - -
¡¡¡Soy enamorado, adepto, adicto de la musica clasica. No conocia ese magistral concierto, ni al compositor. Gracias por deleitar mis oidos, mi alma y mi espiritu!!!
Grandioso... con la energia latina y su sutilesa dulce... alli es donde el gran genio germano Bethoven aprendio a elevarse a esos maravillosos niveles que alcanso y nos dejo para prbar el paraiso...
This Piano Concerto in C-mjr is extremely gorgeous and beautiful similar to Beethoven's concertos! Thank You Composer Muzio Clemeti one of the best musical inventor of all times!. Thanks to KuhlauDilfeng2 given us opportunities to experience and enjoying so many wonderful composers of the past!
wow! I had never heard this before, it is beautiful, brilliant, exciting, uplifting. Es la primera vez que escucho este concierto, en verdad es hermoso, brillante e inspirador
Es la premiére fois j'entend cet concerto et je le trouve trés beau, brillant et passionant. Es ist dass erste Mal dass ich das Konzert höre und es ist sehr schön, brillant und einducksvoll. So, any more languages😂?
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I used to be able to play this piece (as a sonata). This was in the days when I had a real piano (today I have to make do with a fairly good synthesizer!).
Este Gran Maestro, Muzio Clementi, debe figurar entre Bach, Bethoven, Händel, Mozart, Vivaldi y Tchaikowski. Gracias por compartir. Ya lo tengo en mis favoritos.
Fine work, there were so many people producing great music in this period. But they were overshadowed by the giants, so we sometimes forget them. Lovely picture of the Roman Forum and nearby sites too.
Il y 50 ans, au Conservatoire je devais essayer de jouer du Clementi, du Czerny, du Moscheles etc... Mais ni dans la classe de piano ou d'histoire de la musique on nous disait combien de belles oeuvres ces compositeurs avaient écrites. Et maintenant on est en train d'oublier jusqu'à leurs noms. Notre enseignement musical est malade depuis des décennies et ne se remettra jamais, au contraire...
Oui, c'est centré sur les grands noms et Clementi est quelque part entre Mozart et Beethoven, n'est-ce pas ? Ilest très sous-estimé par les conservatoires, occupés de pédagogie.
Before judge: I am a professional concert pianist. On RU-vid there are my recordings of all the Chopin Etudes 10 opera ad well as Dante Sonata of Liszt and many others. Clementi sonatas are even better than the Mozart one. I am not a mature listener? Do you know something about piano technique? Only an ignorant wouldn’t understand the grandiosity of Clementi.
C'est encore le temps du vertige de la gamme majeure, en do et la, des accord affirmant tonique et dominante, avec les trompettes en renfort systématique. Mais enfin, malgré les poncifs, ça fonctionne assez bien... Cependant, à la différence de certains, écouter cela cent fois me lasserait. Ce n'est tout de même pas Mozart. Même si Clementi est plein de mérites divers., et que sans sa technique de piano, le concerto N° 5 de Beethoven eût été complètement autre.... Le temps qui passe départage clairement le talent (grand) et le génie.
dónde puedo conseguir la parte de la orquesta de éste concierto?. Si alguien pudiera ayudarme a encontrarlo se lo agradecería, ya que no encuentro ninguna referencia de ésta obra
@@claudiofrasca-polara5387 Algunes sonates de piano de Clementi són versions de concerts i aquesta n'és una. Era costum que el compositor portés les particel·les per l'orquestra i després se les tornes a quedar. En molts casos no hi havia partitura general. També hi havia molts passatges d'improvisació. Així, el paper de l'orquestra era força secundari. El negoci es feia amb la venda de la versió per a piano sol com a sonata. En aquest cas, Schenk diu que va copiar la part d'orquestra d'aquest concert, però no és segur que sigui original de Clementi o reorquestrat per el mateix Schenk. En tot cas és una bona aproximació al que devia ser l'estil concertant de Clementi. En la meva opinió, la sonata op 33 n 1 en La major, també era un concert. Només té dos moviments i, probablement, el segon devia ser una improvisació de Clementi que no va transcriure. Si t'hi fixes, és una sonata que sona absolutament concertant.
WoO....literally means "without opus", i. e. the work was not published in its author's lifetime. Muzio Clementi was music publisher, editor, the probability that he did not publish his symphonies is zero! Other composers, such as P. Vranički, ... also did not publish their key symphonies. The illusion has been created that Beethoven has created something new! No, he did not create the musical matrices by which he composed. These musical matrices were created by: Paul Wranitzky Symphony in D minor 'La Tempesta' ( 1790), Symphony in C (1790).... Étienne Nicolas Méhul "Timoléon", Overture to the incidental music (1794), Étienne Nicolas Méhul "La chasse du jeune Henri", Overture to the opera Le jeune Henri (1797), Muzio Clementi - Symphony in B-flat major, Op.18, No.1 (1785.) Muzio Clementi - Symphony No.2 in D-major, Op. 33 (1793.),..., Ignace Joseph Pleyel, Viotti, Andrea Luchesi, Paisiello, Benda, Cramer, Hummel...
Very interesting.i have heard something similiar.people unfairly give credit to these very good composers because they think it will take away from beethoven and the so called genuises god status as they prefer things to be
Regarding the publication of four symphonies by Muzio Clementi composed in his later years: Richard Wigmore wrote in a review of the symphonies in the British publication Gramophone: There’s plenty to intrigue and delight, too, in these four symphonies composed for large orchestra (including trombones) during the first quarter of the 19th century and performed throughout Europe. After a concert by the London Philharmonic Society in March 1824, the Morning Chronicle wrote that one of Clementi’s symphonies (we do not know which) “charmed all lovers of beautiful melody and scientific contrivance.” The use of “God save the King” in The Great National Symphony, no. 3, made it something of a popular hit. Yet none of the symphonies seems to have reached a form that satisfied the inveterate reviser in Clementi. Alfredo Casella edited nos. 1 and 2 in the 1930s; but it was not until the late 1970s that pianist-musicologist Pietro Spada made a publishable edition of all four symphonies, drawing on not-quite-complete manuscripts scattered between the British Museum and Washington’s Library of Congress.
Nice! But as with his contemporaries (Mozart very much included - referring to a comment below) I can't stand all these typical cadences he uses. In an attempt to make them less obvious, or to "change things up", composers would elaborate on it, use false cadences etc... But it doesn't change much. You still have that three-note V-I (or similar) ending. Yes it was common practice, but my goodness, I can't understand how performers and composers back then didn't go crazy. (well, some did probably, but for other reasons)
Mozart used the theme of the Clementi's sonata in Si bemolle Maggiore op. 24 n. 2 after ten years in the ouverture of the "Zauberflote"and the adagio of Pietro Anfossi's "Venice Sinphony" in the "confutatis" of his requiem. Maybe originality is more difficult than thought
Che sciocchezza, Clementi era 7n genio e Mozart lo era altrettanto se non di più. Ricordiamoci che clementi sopravvisse a Mozart per diversi anni quindi non possiamo paragonare i lavori di diversi anni.
@@mauriziomau309 mozart was a producer of almost every classical music genre where has clementi produced piano and symphonic works, because of that piano competition they are always compared which is very wrong and ignorant.
@@jolylaurent5107 Clementi was the real genius and Mozart never got over it. Even the Emperor of that time,Leopold II.,prefered Salieri´s works to those of Mozarts. Mozart was Thief,a liar and a cheap Plagiatuerist,who stole from others. Listen to to Salieri´s 3rd Symphonie,for instance,from which was born "God save the Queen,and you´ll know,what i mean.
Now you see why Mozart is a genius. This is what his competition was and he scared them half to death. It's a nice enough piece but lacks the breadth of emotion and technical wizardry of Mozart.
+Robert Royce Sorry Robert - but you hear breadth of emotion and I hear clumsy mood manipulator, you hear technical expertise and I hear blatant showing off. I've tried, I've really tried to enjoy Mozart - but I can never switch off hearing his inner drama queen at play.
You've been reading too many musical 'fairy stories" kid: grow up and learn to comprehend genius when you hear it. As for others being scared of Mozart (B,S,) it was the other way around, Mozart was the one who was always bitching about the competition he faced, and he spent a lot of time and effort to defame and denigrate those who were his equals and his betters, of which there were many! Nor did Mozart have any problem with the works of others being published under his name, he preferred the enhancement to his reputation, by having greater composers' works masquerading under his name to satisfy the greed of needy publishers. E.g., as was the case with Anton Eberl, a greater composer than, a friend and one time student of Mozart; many of Eberl's works were falsely branded with the Mozart name. Simple facts of history, if you care to find them out!
+TintoBrassic no denying Mozart was a superficial drama queen ( possibly had ADHD), but also no denying he was a genius. If only he had the vision and focus Beethoven had, we could have very different music to listen to today...
@@frauncisshakespeare438 "Nor did Mozart have any problem with the works of others being published under his name, he preferred the enhancement to his reputation, by having greater composers' works masquerading under his name to satisfy the greed of needy publishers. E.g., as was the case with Anton Eberl, a greater composer than, a friend and one time student of Mozart; many of Eberl's works were falsely branded with the Mozart name.' There is only one Eberl Sonata falsely attributed to Mozart. You are an internet nutcase. And it is so obvious that sonata wasn't Mozart because it didn't sound like him. You are an idiot!
"Schumann suffered from a mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with "psychotic melancholia", Schumann died two years later in 1856 without having recovered from his mental illness." Taken from Wikepedia.
