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If you do not want to receive notifications from Wethunt, go to [notification settings](.   Wethunt, Trust Company Complex, Ajeltake Road, Ajeltake Island, Majuro, Republic of the Marshall Islands MH 96960 💡 That's interesting: Muzio Filippo Vincenzo Francesco Saverio Clementi (23 January 1752 – 10 March 1832) was an Italian-British[1] composer, virtuoso pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer, who was mostly active in England. Encouraged to study music by his father, he was sponsored as a young composer by Sir Peter Beckford who took him to England to advance his studies. Later, he toured Europe numerous times from his long-standing base in London. It was on one of these occasions, in 1781, that he engaged in a piano competition with Wolfgang Amadeus Mozart. Influenced by Domenico Scarlatti's harpsichord school and Haydn's classical school and by the stile Galante of Johann Christian Bach and Ignazio Cirri, Clementi developed a fluent and technical legato style, which he passed on to a generation of pianists, including John Field, Johann Baptist Cramer, Ignaz Moscheles, Giacomo Meyerbeer, Friedrich Kalkbrenner, Johann Nepomuk Hummel, and Carl Czerny. He was a notable influence on Ludwig van Beethoven and Frédéric Chopin. Clementi also produced and promoted his own brand of pianos and was a notable music publisher. Because of this activity, many compositions by Clementi's contemporaries and earlier artists have stayed in the repertoire. Though the reputation of Clementi was exceeded only by Haydn, Mozart, Beethoven, and Rossini in his day, his popularity languished for much of the 19th and 20th centuries.[2] Life Posthumous portrait of Clementi (before 1929) Childhood Muzio Filippo Vincenzo Francesco Saverio Clementi (baptized Mutius Philippus Vincentius Franciscus Xaverius) was born in Rome, Italy, on 23 January 1752, and baptized the following day at San Lorenzo in Damaso.[3] He was the eldest of the seven children of Nicolò Clementi (1720–1789), a silversmith, and Madalena, née Caisar (Magdalena Kaiser). Nicolò soon recognised Muzio's musical talent and arranged for private musical instruction with a relative, Antonio Baroni, the maestro di cappella at St. Peter's Basilica.[4] Education At the age of seven, Clementi began studies in figured bass with the organist S. Giovanni Cordicelli,[5] followed by voice lessons from Giuseppe Santarelli. A few years later, probably when he was 11 or 12, he was given counterpoint lessons by Gaetano Carpani [ca]. By the age of 13 Clementi had already composed an oratorio, Martirio de' gloriosi Santi Giuliano e Celso,[3] and a mass. When he was 14, in January 1766, he became organist of the parish church of San Lorenzo in Dámaso.[4] Move to England In 1766 Sir Peter Beckford, a wealthy Englishman, nephew of William Beckford (twice Lord Mayor of London, and father of the novelist William Thomas Beckford), visited Rome. He was impressed by the young Clementi's musical talent and negotiated with his father to take him to his estate, Stepleton House, north of Blandford Forum in Dorset, England. Beckford agreed to provide quarterly payments to sponsor the boy's musical education until he reached the age of 21. In return, he was expected to provide musical entertainment. For the next seven years, Clementi lived, performed, and studied at the estate in Dorset. During this period, it appears, Clementi spent eight hours a day at the harpsichord, practising the works of Johann Sebastian Bach, Carl Philipp Emanuel Bach, George Frideric Handel, Domenico Scarlatti, Alessandro Scarlatti, and Bernardo Pasquini. His only compositions dated to this period are the Sonatas WoO 13 and 14 and the Sei Sonate per clavicembalo o pianoforte, Op. 1.[4] In 1770 Clementi made his first public performance as an organist. The audience was reported to be impressed with his playing, thus beginning one of the outstandingly successful concert pianist careers of the period. In 1774 Clementi was freed from his obligations to Peter Beckford. During the winter of 1774–1775 he moved to London, making his first appearance as a harpsichordist in a benefit concert on 3 April 1775. He made several public appearances in London as a solo harpsichordist at benefit concerts for two local musicians, a singer and a harpist, and served as conductor (from the keyboard) at the King's Theatre (now His Majesty's Theatre), Haymarket, for at least part of this time. Mozart Clementi started a three-year European tour in 1780, traveling to Paris, France, where he performed for Queen Marie Antoinette; Munich, Germany; and Salzburg, Austria. In Vienna, he agreed to enter a musical contest with Mozart for the entertainment of Holy Roman Emperor Joseph II and his guests on 24 December 1781, at the Viennese court. The composers were called upon to improvise and to perform selections from their own compositions. The Emperor diplomatically declared a tie. On 12 January 1782, Mozart reported to his father: "Clementi plays well, as far as execution with the right-hand goes. His greatest strength lies in his passages in 3rds. Apart from that, he has not a kreuzer's worth of taste or feeling – in short, he is a mere mechanic." In a subsequent letter, he wrote: "Clementi is a charlatan, like all Italians. He marks a piece presto but plays only allegro." Clementi's impressions of Mozart, by contrast, were enthusiastic. Much later, the pianist Ludwig Berger recalled him saying of Mozart: "Until then I had never heard anyone play with such spirit and grace. I was particularly overwhelmed by an adagio and by several of his extempore variations for which the Emperor had chosen the theme, and which we were to devise alternately." Despite later attempts to portray the two as rivals, there is no evidence that their meeting was not cordial. At the time, Clementi was exploring a more virtuosic and flamboyant style, and this might explain Mozart's disparaging attitude. One of the pieces he performed was his Op. 11 toccata, a display piece full of parallel thirds. It would appear that Mozart's opinion might later have changed somewhat. As noted by Hermann Abert in his 1920 biography W. A. Mozart, the set of variations K. 500 of 1786 "includes a handful of novel pianistic effects that are foreign to Mozart's earlier style and that clearly reflect the influence of Clementi".[6] Mozart used the opening motif of Clementi's B-flat major sonata (Op. 24, No. 2) in his overture for The Magic Flute. It was not unusual for composers to borrow from one another, and this might be considered a compliment. Though Clementi noted in subsequent publications of his sonata that it had been written ten years before Mozart's opera—presumably to make clear who was borrowing from whom—Clementi retained an admiration for Mozart, as reflected in the large number of transcriptions he made of Mozart's music, among which is a piano solo version of the Magic Flute overture. Teaching From 1783, and for the next twenty years, Clementi stayed in England, playing the piano, conducting, and teaching. Several of his students include Johann Baptist Cramer, Thomas Paul Chipp, Ignaz Moscheles, Therese Jansen Bartolozzi, Johann Nepomuk Hummel, Ludwig Berger (who went on to teach Felix Mendelssohn), and John Field (who, in his turn, would become a major influence on Frédéric Chopin).