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Early Music » Harpsichord » mc005

Clementi, Muzio
3 Sonatas Op. 2 Nos. 1, 3, 5 for Piano (Harpsichord) and Flute (Violin)


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Product Details

Author: Muzio Clementi (1752-1832)
Editor: Massimiliano Sala
Publication Date: 2000
Series: Muzio Clementi Opera Omnia. Urtext Edition
Structure: Score and Parts
Pages: pp. 48 + parts pp. 16
Size: 210x297 mm
Binding: Saddle stitching
ISMN: 979-0-2153-0538-0
Code: MC 5
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Series Details

Muzio Clementi Opera Omnia
Urtext Edition
Scientific Committee: Andrea Coen, Roberto Illiano, Costantino Mastroprimiano, Luca Sala, Massimiliano Sala

The present edition of Muzio Clementi’s Opera Omnia aims at presenting the complete corpus of works composed by one of the most historically eminent European composers in the late 18th and early 19th centuries. Clementi’s Opera Omnia, which includes the volume «Muzio Clementi. Studies and Prospects», will be divided into 60 volumes – comprising treatises, chamber, vocal and keyboard music –, 10 of which will be dedicated to works with no opus number, one to the method for piano, op. 42, which will also include the appendix to the method, op. 43, and another to the concerto for piano and orchestra (orchestrated by J. Schenk, 1796). Besides two volumes which will contain Clementi’s Sinfonie op. 18, there will be other 6 volumes dedicated to partially incomplete orchestral works. In order to avoid presenting a truncated musical text, and with a view to promoting the performance of said works, it has been decided to reconstruct the missing sections, albeit indicating editorial intervention clearly in the preface. In an appendix, some volumes will include alternative versions of pieces – which were found in several sources of particular interest – with a view to a better understanding of both the context in which these works were composed, and their correct performance.

www.muzioclementi.com

Reviews

Syrinx
... Questo gruppo di opere sono il segno tangibile di una pratica cameristica fiorente fra i dilettanti londinesi dei primissimi anni del nuovo secolo, ma ancora non si intravede una sostanziale evoluzione musicale rispetto il camerismo espresso da Haydn o Mozart già alla fine del settecento. Anzi, per certi versi, il camerismo di Clementi appare più convenzionale e conservatore, malgrado la buona qualità melodica dell'invenzione. (Maurizio Bignardelli)

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