Diane Hidy Clementi

Muzio Clementi’s four surviving mature symphonies were never published in his lifetime and were rescued from neglect through painstaking reconstruction. His sophisticated use of counterpoint can be heard in his treatment of the tune God Save the King in the third symphony. Classical poise, drama and eloquence of expression in both works can be traced to the influence of Haydn and Mozart. Muzio Clementi’s four mature symphonies have rarely been recorded in comparison to his works for piano.

Aspiring to Parnassus, the mythological mountain home of the Muses, Jean Rondeau explores the possibilities of the harpsichord in music composed over more than 400 years – much of it for the piano. He pays tribute to the Austrian composer Johann Joseph Fux, who in 1725 published the original Gradus ad Parnassum, an influential treatise on counterpoint, and to Muzio Clementi, whose similarly titled collection of piano studies came a century later. The theme continues with Debussy’s Doctor Gradus ad Parnassum, an affectionate parody of Clementi from the Children’s Corner suite.

Lamar Crowson was most famous as pianist with the melos ensemble of London. The clementi sonatas, regularly studied by piano students, but now increasingly the province of repertoire at piano competitions and major recitals, is still very rare on CD. The two l'oiseau-lyre lps making up this 2 cd set have never before been issued on CD.

In the 250th Beethoven anniversary year, Jean-Efflam Bavouzet has chosen this programme of works by contemporary composers to illuminate and contextualize Beethovens extraordinary output for piano. In his explanatory note for the album, the pianist writes: Just as a mountain peak is always surrounded by other perhaps less lofty but no less fascinating summits, the major works of Beethoven are not isolated rock formations rising from the desert, but, as it were, Himalayas, forming part of a range in which other mountains might be the best pieces by contemporaries such as Clementi, Hummel, Dussek, and Wölfl. These composers all knew Beethoven well and were in contact with one another.

Our Contemporaries of Mozart series with Matthias Bamert for Chandos counts over 20 CDs to date and is still on-going. The series has uncovered a wealth of previously unavailable eighteenth-century works and its success is illustrated by the numerous accolades bestowed upon it including a number of releases credited with Editor’s Choice in Gramophone. Composers featured include those more well-known from the era, such as Clementi, Salieri and Stamitz to the rarely-heard Gossec, Vanhal and Gyrowetz.

Muzio Clementi occupies a unique place in the history of the piano, with his myriad sonatas pushing the traditional classical boundaries of the form, his publishing company and piano manufacturing firm prospering both in England and on the Continent, and his famed virtuosity astonishing all who heard him. Remembered as the first of the great piano virtuosos, Clementi condensed his years of composition and performance into the monumental, three-volume Gradus ad Parnassum, a repository of stylistically diverse pieces designed to demonstrate utmost technical mastery of the instrument. This is the last disc in Alessandro Marangoni’s highly acclaimed four single disc survey.

On the occasion of his 80th birthday, Die Schachtel is proud to present "Punctum Contra Punctum", a deluxe compact disc box dedicated to Aldo Clementi, one of the most important figures of Italian music of the 20th Century. Born in Sicily in 1925, he studied piano and later composition under the guidance of teachers such as Goffredo Petrassi and Bruno Maderna, who also introduced him to electronic music at the RAI Studio of Phonology in Milan.

Aspiring to Parnassus, the mythological mountain home of the Muses, Jean Rondeau explores the possibilities of the harpsichord in music composed over more than 400 years – much of it for the piano. He pays tribute to the Austrian composer Johann Joseph Fux, who in 1725 published the original Gradus ad Parnassum, an influential treatise on counterpoint, and to Muzio Clementi, whose similarly titled collection of piano studies came a century later. The theme continues with Debussy’s Doctor Gradus ad Parnassum, an affectionate parody of Clementi from the Children’s Corner suite.

This is a fascinating programme from Dejan Lazic who had some interesting detective work tracking down the score of the Cramer. His sonata is wonderful music that deserves to be heard, and Dejan is a superb advocate for Clementi & Cramer as well as Beethoven.