Clementi and the woman at the piano : virtuosity and the marketing of music in eighteenth-century London
Author(s)
Bibliographic Information
Clementi and the woman at the piano : virtuosity and the marketing of music in eighteenth-century London
（Oxford University studies in the Enlightenment, 2022:06）
Published by Liverpool University Press on behalf of Voltaire Foundation, University of Oxford, c2022
- : pbk
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Note
Includes bibliographical references (p. 281-308) and index
Description and Table of Contents
Description
This book takes as its historical point of departure the radical appearance in 1779 of technically difficult keyboard music in a set of six sonatas (Op. 2) by Muzio Clementi. The difficult passages contained in this opus are unique amongst keyboard music published for a market that was understood at the time to consist almost entirely of female amateur keyboardists. Previously actively discouraged from practicing or improving their skills due to the restrictive ideologies in place, Clementi's music increasingly affords female pianists a new kind of musical expression. Clementi and the woman at the piano: Virtuosity and the market for music in eighteenth-century London maps the social, musical, and gendered implications of technically difficult music and helps to underline important changes in Enlightenment culture and keyboard practice. Clementi's activities initiated the now familiar and modern concepts of repetitive musical practice, the work-concept, virtuosity itself, and the division between amateur and professional. Additionally, Clementi promotes a radical new mode of expression for female pianists that is at first highly controversial but slowly gains acceptance due to a widespread promotion of his music, instruments, and methods. Clementi's career is in many respects a perfect case study for the tensions between Enlightenment thinking and new Romantic ideologies.
Table of Contents
List of Musical Examples
List of Tables
List of Figures
Preface
Chapter 1: Clementi and the Enlightenment
Chapter 2: Mozart's Insult and the Irritations of Virtuosity
Chapter 3: Keyboard Performance and Gender in Late Eighteenth-Century London
Chapter 4: Clementi's "Black Joke"
Chapter 5: Male Theoria and Female Praxis
Chapter 6: Clementi in the Marketplace and the Conservatoire
Conclusion: Clementi's Coin
Appendix: Ideological differences regarding keyboard practicing/music education in 36 conduct books and treatises, 1741-1838
Bibliography
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