Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British composers of this period, scholars have begun to explore the web of reciprocal relationships between the societal, economic and cultural dynamics arising from the industrial revolution, the Napoleonic wars, and the ever-changing contours of British music publishing, music consumption, concert life, instrument design, performance practice, pedagogy and composition. Muzio Clementi (1752–1832) provides an ideal case-study for continued exploration of this web of relationships. Based in London for much of his life, whilst still maintaining contact with continental developments, Clementi achieved notable success in a diversity of activities that centred mainly on the piano. The present book explores Clementi’s multivalent contribution to piano performance, pedagogy, composition and manufacture in relation to British musical life and its international dimensions. An overriding purpose is to interrogate when, how and to what extent a distinctive British musical culture emerged in the early nineteenth century. Much recent work on Clementi has centred on the Italian National Edition of his complete works (MiBACT); several chapters report on this project, whilst continuing to pursue the book’s broader themes.
Introduction - Luca Lévi Sala and Rohan H. Stewart-MacDonald 1. Britain and Europe in the Time of Clementi: Cosmopolitanism and Perceptions of National Culture - Simon McVeigh2. Clementi in London - Leon Plantinga3. The Dissemination of Muzio Clementi’s Output Beyond England: Issues of Authenticity and Textual Problems in Vienna (1787–1799) - Luca Lévi Sala 4. Clementi’s Introduction in European Musical Life, 1801–1830 - David Rowland 5. Inventions and Ideas on the Peripheries of British Piano Design Between 1752 and 1832 - Jenny Nex 6. Shedding light on late eighteenth-century British Piano Performance Style through Clementi’s edition of Scarlatti's Chefs d’Oeuvre, for the Harpsichord or Piano-Forte - Laura Cuervo 7. Towards a New Edition of Clementi’s ‘Viennese’ Sonatas, Opp. 7–10: Contemporary English Sources and the Problem of Revision - Rohan H. Stewart-MacDonald 8. Association by Design: Clementi’s Musical Characteristics - Penelope Cave 9. Clementi and the Tambourine: the Waltzes opp. 38–39 in the Context of Domestic Music-Making in Early Nineteenth-Century Britain - Sam Girling 10. Clementi’s Minor-Mode Keyboard Music and the Rhetoric of ‘Ancient Style’ - Matthew Riley 11. Locating the Early-Romantic British Piano Concerto: William Sterndale Bennett and his Contemporaries - Rohan H. Stewart-MacDonald
The Ashgate Historical Keyboard Series is designed to provide a natural home for studies in all aspects of keyboard music by musicologists, organologists and analysts as well as performers and instrument makers engaged in practice-led research. The series embraces all approaches to the study of the keyboard, including its music, historical and sociological contexts, sources (including theoretical texts and their translation), composers, instruments, performance practice and analysis. Historical should not be taken to imply ‘early’, and the series embraces research on all areas of keyboard studies from the distant past to historical reflections on contemporary keyboard music. Single author books, collections of essays, and editions of text-based historical sources, will be considered for inclusion in the series.