Give an account of Wagner and the works of his first period. His second period.
What was Wagner’s theory of the music drama?
Explain the two essential principles he used.
Describe Wagner’s later works: “Ring” series, “Tristan und Isolde,” “Die Meistersinger,” “Parsifal.” (Each one may be made the subject of an essay.)
How did Wagner influence opera in Italy and in France?
Give a sketch of the later schools of opera.
LESSON XLI.
Piano Playing and Composition: Clementi to Field.
During the period after Mozart to the beginning of the Romantic movement, one name alone attains the first rank—that of Beethoven. At the same time there are several epoch-making pianists, whose compositions display talent rather than genius, but who have each rendered indisputable service in accomplishing the transition from the classic to the romantic composers. The landmarks, so to speak, of this period are Clementi, Cramer, Hummel, Czerny, Moscheles and Field.
Muzio Clementi (1752-1832) was born at Rome. His father was quick to perceive his son’s gift for music, and strove to develop it by the best teaching available. While he was still a lad, an Englishman, Bedford or Beckford, took young Clementi with him to England where he lived with his benefactor until 1770, perfecting himself in piano playing and composition. At his first appearances in London he created a furore, and from 1777-1780 he conducted at the piano in the Italian opera there. In 1781, he began his travels as a virtuoso. At Vienna he made the acquaintance of Josef Haydn, and also had a sort of musical combat with Mozart. Each read at sight, played his own compositions and improvised. Opinion was divided as to the outcome. Clementi displayed more virtuosity, while Mozart charmed by his singing-tone, finished phrasing and expressive style. For the following twenty years, Clementi lived in London. He became interested in a piano manufactory and when the firm failed, he established another, which is still carried on. In 1802, Clementi went on a concert-tour with two favorite pupils, J. B. Cramer and John Field. They visited Paris, Vienna and even St. Petersburg, arousing great enthusiasm everywhere. In 1810, he settled in London permanently, devoting himself to composition and business. In 1817, he published his Gradus ad Parnassum, a series of one hundred studies treating every branch of technic and every problem of piano playing then known.
