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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.
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.
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