FOOTNOTES:[50]Edward Dickinson: ‘The Study of the History of Music.’[51]Dichtung und Wahrheit.[52]Thayer, Vol. I, p. 227.[53]Nottebohm:Beethoveniana, XXVII.[54]Arthur Symons, Essay ‘Beethoven.’[55]Grove: ‘Beethoven and His Nine Symphonies,’ pp. 55-56.[56]Berlioz:Étude critique des symphonies de Beethoven.[57]Arthur Symons, Essay ‘Beethoven.’[58]Thayer: Vol. II, p. 10.[59]Muzio Clementi (1752-1832) is now remembered chiefly by his technical studies for the pianoforte, though a much greater portion of his work deserves recognition. He was a great concert pianist, a rival of whom Mozart was a little unwilling to admit the ability. A great part of his life was spent in England. He composed a great amount of music for the pianoforte which has little by little been displaced by that of Mozart; and in his own lifetime symphonies which once were hailed with acclaim fell into neglect before Haydn’s. His pianoforte works expanded keyboard technique, especially in the direction of double notes and octaves, and were the first distinctly pianoforte works in distinction to works for the harpsichord.[60]Wagner, Essay ‘Beethoven.’[61]‘Oxford History of Music,’ Vol. V.[62]Grove, Vol. I, p. 204.[63]Arthur Symons, Essay ‘Beethoven.’[64]Dannreuther, ‘Beethoven,’ Macmillan’s Magazine, July, 1876.[65]Richard Wagner, Essay ‘Beethoven.’
FOOTNOTES:[50]Edward Dickinson: ‘The Study of the History of Music.’[51]Dichtung und Wahrheit.[52]Thayer, Vol. I, p. 227.[53]Nottebohm:Beethoveniana, XXVII.[54]Arthur Symons, Essay ‘Beethoven.’[55]Grove: ‘Beethoven and His Nine Symphonies,’ pp. 55-56.[56]Berlioz:Étude critique des symphonies de Beethoven.[57]Arthur Symons, Essay ‘Beethoven.’[58]Thayer: Vol. II, p. 10.[59]Muzio Clementi (1752-1832) is now remembered chiefly by his technical studies for the pianoforte, though a much greater portion of his work deserves recognition. He was a great concert pianist, a rival of whom Mozart was a little unwilling to admit the ability. A great part of his life was spent in England. He composed a great amount of music for the pianoforte which has little by little been displaced by that of Mozart; and in his own lifetime symphonies which once were hailed with acclaim fell into neglect before Haydn’s. His pianoforte works expanded keyboard technique, especially in the direction of double notes and octaves, and were the first distinctly pianoforte works in distinction to works for the harpsichord.[60]Wagner, Essay ‘Beethoven.’[61]‘Oxford History of Music,’ Vol. V.[62]Grove, Vol. I, p. 204.[63]Arthur Symons, Essay ‘Beethoven.’[64]Dannreuther, ‘Beethoven,’ Macmillan’s Magazine, July, 1876.[65]Richard Wagner, Essay ‘Beethoven.’
FOOTNOTES:
[50]Edward Dickinson: ‘The Study of the History of Music.’
[50]Edward Dickinson: ‘The Study of the History of Music.’
[51]Dichtung und Wahrheit.
[51]Dichtung und Wahrheit.
[52]Thayer, Vol. I, p. 227.
[52]Thayer, Vol. I, p. 227.
[53]Nottebohm:Beethoveniana, XXVII.
[53]Nottebohm:Beethoveniana, XXVII.
[54]Arthur Symons, Essay ‘Beethoven.’
[54]Arthur Symons, Essay ‘Beethoven.’
[55]Grove: ‘Beethoven and His Nine Symphonies,’ pp. 55-56.
[55]Grove: ‘Beethoven and His Nine Symphonies,’ pp. 55-56.
[56]Berlioz:Étude critique des symphonies de Beethoven.
[56]Berlioz:Étude critique des symphonies de Beethoven.
[57]Arthur Symons, Essay ‘Beethoven.’
[57]Arthur Symons, Essay ‘Beethoven.’
[58]Thayer: Vol. II, p. 10.
[58]Thayer: Vol. II, p. 10.
[59]Muzio Clementi (1752-1832) is now remembered chiefly by his technical studies for the pianoforte, though a much greater portion of his work deserves recognition. He was a great concert pianist, a rival of whom Mozart was a little unwilling to admit the ability. A great part of his life was spent in England. He composed a great amount of music for the pianoforte which has little by little been displaced by that of Mozart; and in his own lifetime symphonies which once were hailed with acclaim fell into neglect before Haydn’s. His pianoforte works expanded keyboard technique, especially in the direction of double notes and octaves, and were the first distinctly pianoforte works in distinction to works for the harpsichord.
[59]Muzio Clementi (1752-1832) is now remembered chiefly by his technical studies for the pianoforte, though a much greater portion of his work deserves recognition. He was a great concert pianist, a rival of whom Mozart was a little unwilling to admit the ability. A great part of his life was spent in England. He composed a great amount of music for the pianoforte which has little by little been displaced by that of Mozart; and in his own lifetime symphonies which once were hailed with acclaim fell into neglect before Haydn’s. His pianoforte works expanded keyboard technique, especially in the direction of double notes and octaves, and were the first distinctly pianoforte works in distinction to works for the harpsichord.
[60]Wagner, Essay ‘Beethoven.’
[60]Wagner, Essay ‘Beethoven.’
[61]‘Oxford History of Music,’ Vol. V.
[61]‘Oxford History of Music,’ Vol. V.
[62]Grove, Vol. I, p. 204.
[62]Grove, Vol. I, p. 204.
[63]Arthur Symons, Essay ‘Beethoven.’
[63]Arthur Symons, Essay ‘Beethoven.’
[64]Dannreuther, ‘Beethoven,’ Macmillan’s Magazine, July, 1876.
[64]Dannreuther, ‘Beethoven,’ Macmillan’s Magazine, July, 1876.
[65]Richard Wagner, Essay ‘Beethoven.’
[65]Richard Wagner, Essay ‘Beethoven.’