Muzio Clementi (1752-1832) Gradus Ad Parnassum: Complete Piano Studies / World Premiere QUATRE PIECES EN FA MAJEUR (MAJ) 00:00 1. Con velocita 01:39 2. Allegrissimo 03:04 3. Vivacissimo 04:19 4. Allegro ma con grazia DEUX PIECES EN SI BÉMOL 07:25 5. Andante quasi allegretto, con espressione 10:06 6. Allegro moderato DEUX Pièces EN RÉ MAJ 13:31 7. Vivacissimo 16:09 8. Allegretto moderato e con grazia SUITE EN LA MAJ 18:03 9. Preludio: Vivace ma non troppo 19:29 10. Canone: Allegro moderato forte e sempre legato 21:43 11. Cantabile: Allegro moderato e cantabile SUITE EN UT MAJ 25:33 12. Preludio: Allegro 26:54 13. Fuga: Allegro non troppo 30:39 14. Adagio sostenuto 34:08 15. Finale: Allegro non troppo DEUX PIECES EN UT MAJ 38:57 16. Veloce 40:25 17. Veloce 42:02 18. INTRODUZIONE E FUGATO EN FA MAJ 46:35 19. PRESTO EN LA MINEUR (MIN) 47:52 20. ALLEGRO EN RÉ MAJ 49:16 21. VELOCE EN Ml BÉMOL 50:40 22. ALLEGRO CON SPIRITO EN LA BÉMOL 52:51 23. PRESTO EN UT MAJ 53:51 24. PRESTO EN FA DIESE MIN SUITE EN SI 56:00 25. Introduzione e fuga: Tempo moderato 1:00:20 26. Canone: Allegro moderato 1:02:27 27. Allegro con fuoco DEUX PIÈCES EN SI MAJ 1:05:57 28. Allegro 1:07:43 29. Allegro ma non troppo 1:09:59 30. VELOCE EN Ml MIN TROIS PIÈCES EN DO MAJ 1:12:16 31. Allegro con molto brio 1:14:31 32. Allegro 1:16:45 33. Canone: Moderato TROIS Pièces EN LA 1:18:34 34. Presto 1:21:38 35. Veloce 1:23:03 36. Presto ma non troppo SUITE EN FA MAJ 1:26:10 37. Preludio 1:27:50 38. Allegro moderato 1:35:24 39. Scena patetica: Adagio con grand espressione 1:45:42 40. Fuga: Tempo moderato 1:49:20 41. Finale: Allegro vivace SUITE EN FA MIN 1:55:47 42. Allegro con energia, passione e fuoco 2:01:16 43. Fuga: Moderato 2:04:33 44. Allegro SUITE EN UT MIN 2:07:43 45. Introduzione e Fuga: Allegro moderato 2:14:13 46. Allegro 2:15:05 47. Allegro en si bemol TROIS PIÈCES EN SOL MAJ 2:16:07 48. Velocissimo 2:19:55 49. Vivace non troppo 2:24:04 50. Veloce: Vivace SUITE EN RÉ MIN 2:25:35 51. Introduzione: Adagio 2:27:39 52. Moderato, sempre legato 2:28:51 53. Molto Allegro 2:29:47 54. Fuga 2:32:55 55. Finale presto SUITE EN SI BEMOL 2:34:54 56. Adagio patetico sempre legato 2:36:29 57. Fuga: moderato 2:40:44 58. Finale presto 2:43:22 59. ALLEGRO NON TROPPO EN SOL BÉMOL MAJ SUITE EN SI BÉMOL 2:44:23 60. Introduzione: Allegro 2:45:18 61. Allegro con espressione/dolce 2:50:55 62. Introduzione: Adagio Allegro moderato 2:53:03 63. Canone: Vivace 2:54:10 64. PRESTO EN SI BEMOL MAJ 2:54:52 65. ALLEGRO VIGOROSO EN FA MAJ SUITE EN LA MAJ 2:55:43 66. Allegretto vivace 2:59:28 67. Canone: Allegro moderato 3:01:40 68. Presto 3:02:31 69. Fuga: Moderato 3:05:15 70. Scherzo: Allegretto vivace SUITE EN Ml 3:06:10 71. Allegro legatissimo 3:08:49 72. Vivace 3:09:25 73.Canone: Allegretto 3:11:23 74. Fuga: Moderato 3:13:57 75. Canone: Allegro non troppo 3:16:27 76. Finale: Allegro SUITE EN SOL 3:17:21 77. Allegrissimo, legato 3:18:09 78. Molto allegro 3:19:31 79. Allegro moderato, Il basso sempre legato 3:20:22 80. Capriccio: Presto 3:25:45 81. Finale: Allegro SUITE EN RÉ 3:27:16 82. Scherzo: Molto Allegro 3:30:00 83. Moderato 3:30:53 84. Andante 3:36:36 85. Presto vigoroso 3:37:28 86. Allegro non troppo 3:39:12 87. Finale: Allegro molto vivace SUITE EN SI 3:40:51 88. Andante con moto, ma cantabile 3:42:27 89. Presto 3:43:12 90. Fugato: Allegro non troppo 3:46:09 91. Allegretto 3:47:30 92. Finale: Allegro vivace 3:48:22 93. ALLEGRO EN LA BÉMOL MAJ 3:50:08 94. STRAVAGANZA: ALLEGRO CANTABILE TROIS PIÈCES EN UT 3:52:07 95. Bizzareria: Vivace 3:53:43 96. Allegro agitato 3:55:27 97. Scherzo: Molto allegro 3:57:00 98. ALLEGRO VIVACE EN FA DIÈSE MIN 3:58:45 99. MOLTO ALLEGRO EN SI MIN 4:00:42 100. VIVACISSIMO EN Ml MAJ Piano: Danielle Laval Recorded in 1981, at Switzerland 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Danielle Laval. « She has fingers of iron ». This compliment from Arthur Rubinstein, concerning Danielle Laval's technique and astounding sensitivity, would provide to be very important support at the dawn of her career as a pianist. A student of Vlado Perlemuter and Jean Hubeau, Danielle Laval stood out at an early age by devoting herself to musical research as soon as she completed her studies at the National Conservatory in Paris. Readily devoting herself to repertoires off the beaten path, she brings elegance, suppleness and virtuosity to works that have often been forgotten or neglected by fellow pianists. Danielle Laval is also impassioned by suspense films and their music, which means unexpected works and an eclectic repertoire (Miklös Rözsa, Nino Rota, André Hossein, Bernard Herrmann.. .). She is also a fan of jazz, which she shares with her friend Michel Legrand. Danielle Laval has recorded a great deal, and her abundant discography ranges from Albert Roussel's Piano Concerto to César Franck's Variations symphoniques, not to mention complete sets of Mozart's variations for piano, Mendelssohn’s Songs without Words and Clementi's etudes. Her recordings, recitals and concerts in France, Germany, Austria, Eastern Europe, Great Britain, Mexico... have been hailed by critics who are unanimous in praising her talent, her sonority and style, all of which has put her in the forefront of instrumentalists. Great pianist, but forgotten today, we hope that this publication will do him justice. Mendelssohn - Songs without Words / Romances sans Paroles (reference recording: Danielle Laval): ua-cam.com/video/pXvkp8x_eCE/v-deo.html Domenico Scarlatti & Muzio Clementi PLAYLIST (reference recordings): ua-cam.com/video/2xE4RzNiQWo/v-deo.html
Gradus ad Parnassum: the ascent, in stages, of Parnassus, the summit of the symbolic mountain of the Muses and, hence, art... This was the title Johann Joseph Fux had already used in 1725 for his treatise on music or, to be more precise, musical counterpoint, that was published in the Austrian capital. The collection which concerns us (the first part of which is represented on record here for the first time) does not constitute a theoretical treatise, but is instead made up of practical examples: on the first page of the first edition of his collection, the author quotes Dr. Johnson: « Examples are the best masters in all the arts. » Today we speak of Piano studies or perhaps, in a general context, of studies for keyboard (or keyboards). This term, however, is relatively recent: it is said to have appeared for the first time in a work by Francesco Durante (1684-1755). The thing it describes dates back much further: indeed, how else should we describe the wealth of keyboard compositions entitled "ricercare", "prelude", and "variations" - all of which appeared towards the end of the sixteenth century ? During the seventeenth century, the same pieces were called (especially by certain Italians and Spaniards) exercises or "sonatas" - pieces that were intended to make the instrument "sound". Nonetheless, the great majority of these works belong to the "study" genre, i.e. a composition that aims to demonstrate how to resolve a specific instrumental problem or, to be more precise, a problem of technique. A large part of the masterpieces of the greatest composers come under this heading. The WellTempered Clavier of Johann Sebastien Bach is undoubtedly aimed, first and foremost, at showing how it is possible to modulate into any tonality given a "tempered" keyboard harmony; it is also obvious that its author is trying to develop his performer's technique. This is even more evident in the Inventions and Sinfonias, the Trio Sonatas, and, above all, in the different sections of the Clavierübung, which contains immortal masterpieces even though it should not be forgotten that its title may be translated as « Exercises intended for the mastery of the keyboard.. ». When they were not intended for performance in concerts, Mozart composed his works for keyboard simply to develop the pianistic technique of his pupils. In the nineteenth century the term "study" slowly became more generalised - and designated such well-known masterpieces as the most personal and inspired pages of Schumann, Chopin and Liszt, to take just a few examples. If Schumann's Symphonic Studies, the Etudes and Preludes by Chopin, or, for example, the Transcendental Studies by Liszt are so popular, and figure in the repertoire of public recitals, this is because this music is obviously as difficult from a technical point of view as it is enthralling, fascinating and expressive from a purely musical standpoint. The question remains - should Muzio Clementi take part, and how, in this illustrious, incontestable tradition ? This question depends upon whether we consider the hundred studies that constitute the Gradus ad Parnassum as first and foremost musical compositions, or else as being primarily an extremely useful collection of exercises for pianists. We are forced to conclude that, in spite of the memorable interpretation of pianists of the calibre of Vladimir Horowitz (supported by statements such as « Clementi's Sonatas have been absent from the concert repertoire for too long... A giant such as Beethoven admired them before being influenced by them; his judgement ought to guide us… ») - in spite of this Clementi remains unknown for the majority of musicians, be they amateur or professional. The Gradus ad Parnassum is not in itself an isolated work, but is a kind of amalgam of the composer's work in the didactical field, in the same way as the Clavierübung by Johann Sebastian Bach. As early as 1801, Clementi had edited as Introduction to the ad in London which was published in a German translation in Vienna the following year under the title "Introduction to the art of playing the piano"; shortly afterwards, moreover, Pleyel published the French translation in Paris, the title stressing the way of "touching" ("toucher") the instrument. From this treatise were extrapolated 50 lessons with fingering in all keys taken from the method or Preludes and Exercises in Major and Minor Keys, A Supplement to his Introduction to the Art of Touching the pianoforte. After this 24 Exercises on Scales in al/ keys was printed in Paris together with a Vollständige Clavierschule, in other words a complete method for learning the piano and 50 "lessons" published in several separate sections. As for the collection itself, his full title is significant: Gradus ad Parnassum, or the Art of touching the Pianoforte, demonstrated by a series of exercises in the severe and free (elegant) styles. Clementi does not, as critics would have us believe, try merely to develop instrumental virtuosity: his aim is to form pianists both in the former baroque (contrapuntal) style as well as the "modern" style developed by the Viennese classical composers. For him the piano was already the neutral instrument par excellence as it was later with the nineteenth century composers, capable of being an orchestral or polyphonic instrument, whatever the case may be. Following the example of Bach, the great didactic pages of his maturity witness an attempt to carry the possibilities of the keyboard to their limits. By the age of twelve, Mozart had already appreciated the superiority of the piano over former keyboard instruments; in 1773 Clementi was amongst the first to receive public acclaim for his performance on the new instrument, the expressiveness of which being due to the opportunities it offered for the modulation of sound. The collection begins by two pages indicating how to play ornaments. From the very beginning of the collection Clementi's debt to tradition may be observed: a large part of the Gradus studies are grouped into suites, with a varying degree of formal strictness, in accordance with the tonality: this is perhaps what distinguishes this work from other comparable collections, beginning with those of Cramer and Czerny. This also explains why we often think works having an intrinsically musical and expressive aim as "pure" musical compositions having no didactic or pedagogical aim. Commenting on Muzio Clementi's already-famous volume in the equally famous "Music Magazine", Dr Croft called the composer of Gradus ad Parnassum the "father of piano music", saying that he had introduced into it "the beauties of the Italian art of song", though this is not perhaps quite true if we think of Mozart's piano works. But we understand better Clementi's interest in instrumental technique, and the vital influence that he had on the development of the English pianoforte, the first which made possible perfectly equal repeated notes, leaps of large intervals, and double or triple notes played regularly and simultaneously. We also understand Claude Debussy's humorous but moved tribute in his Children's Corner. After the fantastic development of virtuosity in the last century, the French composer saw something like the "green paradise of childish love... "
Registrazione incredibile. La Lavalle ha forse realizzato la migliore registrazione integrale di sempre del Gradus. Il suono è quello giusto. Il virtuosismo quello convincente ed equilibrato con l'epoca storica della composizione. Brava davvero alla grande pianista francese che emozionò anche Rubinstein.
I have been listening for 5 days now - somtimes starting from the front - somtimes picking up in the middle - and it never fails to amaze me, delight me, surprise me and relax me! What a wonderful find! Thank you so much for bringing such rarities to life and give them the audience they so well deserve!
Wunderschöne Interpretation dieser fein oder perfekt komponierten Klavierwerke in verschiedenen Tempi mit klar artikuliertem doch elegantem Anschlag und mit perfekt kontrollierter Dynamik. Wahrlich intelligente und geniale Pianistin!
Gradus ad Parnassum: the ascent, in stages, of Parnassus, the summit of the symbolic mountain of the Muses and, hence, art... This was the title Johann Joseph Fux had already used in 1725 for his treatise on music or, to be more precise, musical counterpoint, that was published in the Austrian capital. The collection which concerns us (the first part of which is represented on record here for the first time) does not constitute a theoretical treatise, but is instead made up of practical examples: on the first page of the first edition of his collection, the author quotes Dr. Johnson: « Examples are the best masters in all the arts. » Today we speak of Piano studies or perhaps, in a general context, of studies for keyboard (or keyboards). This term, however, is relatively recent: it is said to have appeared for the first time in a work by Francesco Durante (1684-1755). The thing it describes dates back much further: indeed, how else should we describe the wealth of keyboard compositions entitled "ricercare", "prelude", and "variations" - all of which appeared towards the end of the sixteenth century ? During the seventeenth century, the same pieces were called (especially by certain Italians and Spaniards) exercises or "sonatas" - pieces that were intended to make the instrument "sound". Nonetheless, the great majority of these works belong to the "study" genre, i.e. a composition that aims to demonstrate how to resolve a specific instrumental problem or, to be more precise, a problem of technique. A large part of the masterpieces of the greatest composers come under this heading. The WellTempered Clavier of Johann Sebastien Bach is undoubtedly aimed, first and foremost, at showing how it is possible to modulate into any tonality given a "tempered" keyboard harmony; it is also obvious that its author is trying to develop his performer's technique. This is even more evident in the Inventions and Sinfonias, the Trio Sonatas, and, above all, in the different sections of the Clavierübung, which contains immortal masterpieces even though it should not be forgotten that its title may be translated as « Exercises intended for the mastery of the keyboard.. ». When they were not intended for performance in concerts, Mozart composed his works for keyboard simply to develop the pianistic technique of his pupils. In the nineteenth century the term "study" slowly became more generalised - and designated such well-known masterpieces as the most personal and inspired pages of Schumann, Chopin and Liszt, to take just a few examples. If Schumann's Symphonic Studies, the Etudes and Preludes by Chopin, or, for example, the Transcendental Studies by Liszt are so popular, and figure in the repertoire of public recitals, this is because this music is obviously as difficult from a technical point of view as it is enthralling, fascinating and expressive from a purely musical standpoint. The question remains - should Muzio Clementi take part, and how, in this illustrious, incontestable tradition ? This question depends upon whether we consider the hundred studies that constitute the Gradus ad Parnassum as first and foremost musical compositions, or else as being primarily an extremely useful collection of exercises for pianists. We are forced to conclude that, in spite of the memorable interpretation of pianists of the calibre of Vladimir Horowitz (supported by statements such as « Clementi's Sonatas have been absent from the concert repertoire for too long... A giant such as Beethoven admired them before being influenced by them; his judgement ought to guide us… ») - in spite of this Clementi remains unknown for the majority of musicians, be they amateur or professional. The Gradus ad Parnassum is not in itself an isolated work, but is a kind of amalgam of the composer's work in the didactical field, in the same way as the Clavierübung by Johann Sebastian Bach. As early as 1801, Clementi had edited as Introduction to the ad in London which was published in a German translation in Vienna the following year under the title "Introduction to the art of playing the piano"; shortly afterwards, moreover, Pleyel published the French translation in Paris, the title stressing the way of "touching" ("toucher") the instrument. From this treatise were extrapolated 50 lessons with fingering in all keys taken from the method or Preludes and Exercises in Major and Minor Keys, A Supplement to his Introduction to the Art of Touching the pianoforte. After this 24 Exercises on Scales in al/ keys was printed in Paris together with a Vollständige Clavierschule, in other words a complete method for learning the piano and 50 "lessons" published in several separate sections. As for the collection itself, his full title is significant: Gradus ad Parnassum, or the Art of touching the Pianoforte, demonstrated by a series of exercises in the severe and free (elegant) styles. Clementi does not, as critics would have us believe, try merely to develop instrumental virtuosity: his aim is to form pianists both in the former baroque (contrapuntal) style as well as the "modern" style developed by the Viennese classical composers. For him the piano was already the neutral instrument par excellence as it was later with the nineteenth century composers, capable of being an orchestral or polyphonic instrument, whatever the case may be. Following the example of Bach, the great didactic pages of his maturity witness an attempt to carry the possibilities of the keyboard to their limits. By the age of twelve, Mozart had already appreciated the superiority of the piano over former keyboard instruments; in 1773 Clementi was amongst the first to receive public acclaim for his performance on the new instrument, the expressiveness of which being due to the opportunities it offered for the modulation of sound. The collection begins by two pages indicating how to play ornaments. From the very beginning of the collection Clementi's debt to tradition may be observed: a large part of the Gradus studies are grouped into suites, with a varying degree of formal strictness, in accordance with the tonality: this is perhaps what distinguishes this work from other comparable collections, beginning with those of Cramer and Czerny. This also explains why we often think works having an intrinsically musical and expressive aim as "pure" musical compositions having no didactic or pedagogical aim. Commenting on Muzio Clementi's already-famous volume in the equally famous "Music Magazine", Dr Croft called the composer of Gradus ad Parnassum the "father of piano music", saying that he had introduced into it "the beauties of the Italian art of song", though this is not perhaps quite true if we think of Mozart's piano works. But we understand better Clementi's interest in instrumental technique, and the vital influence that he had on the development of the English pianoforte, the first which made possible perfectly equal repeated notes, leaps of large intervals, and double or triple notes played regularly and simultaneously. We also understand Claude Debussy's humorous but moved tribute in his Children's Corner. After the fantastic development of virtuosity in the last century, the French composer saw something like the "green paradise of childish love... " Danielle Laval. « She has fingers of iron ». This compliment from Arthur Rubinstein, concerning Danielle Laval's technique and astounding sensitivity, would provide to be very important support at the dawn of her career as a pianist. A student of Vlado Perlemuter and Jean Hubeau, Danielle Laval stood out at an early age by devoting herself to musical research as soon as she completed her studies at the National Conservatory in Paris. Readily devoting herself to repertoires off the beaten path, she brings elegance, suppleness and virtuosity to works that have often been forgotten or neglected by fellow pianists. Danielle Laval is also impassioned by suspense films and their music, which means unexpected works and an eclectic repertoire (Miklös Rözsa, Nino Rota, André Hossein, Bernard Herrmann.. .). She is also a fan of jazz, which she shares with her friend Michel Legrand. Danielle Laval has recorded a great deal, and her abundant discography ranges from Albert Roussel's Piano Concerto to César Franck's Variations symphoniques, not to mention complete sets of Mozart's variations for piano, Mendelssohn’s Songs without Words and Clementi's etudes. Her recordings, recitals and concerts in France, Germany, Austria, Eastern Europe, Great Britain, Mexico... have been hailed by critics who are unanimous in praising her talent, her sonority and style, all of which has put her in the forefront of instrumentalists. Great pianist, but forgotten today, we hope that this publication will do him justice. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Algo totalmente diferente a las sonatas que conocía, pero igualmente una música para escuchar y disfrutar por los matices, acentos y figuras casi mágicas que emanan de sus notas brillantemente interpretadas por una inspirada, segura y magnífica Danielle.
>>5 hours of fine composition for the piano (pf? originally?) and just as fine pianism by Ms. Laval. Thank you CM/RR for the umpteenth time for consistently making such music available.
Suite in fa- No.44. Quando l'ho studiata nell' eseguirla mi dava una carica pazzesca non meno che suonare Beethoven o i romantici futuri. Fughe stupende, in particolare quella in do-!!!
"Right now, there are people all over the world who are just like you. They're either lonely, they're missing somebody, they're depressed, they're hurt, they're scarred from the past, they're having personal issues no one knows about, they have secrets you wouldn't believe. They wish, they dream and they hope. And right now, they are sitting here reading these words, and I'm writing this for you so you don't feel alone anymore. Always remember, don't be depressed about the past, don't worry about the future, and just focus on today. If today's not so great don't worry! Tomorrow's a new chance. If you are reading this, be sure to share this around to make others feel better. Have a nice day!"
Now that sounds like a wise quote from Billy Graham! At any rate, it is a good post. I was wondering one thing though, your picture... is it earphones?
Clementi is the only pianistic piano composer of his era. Mozart and Hayden's piano works are more like transcriptions of operatic or orchestral works. Even Mozart's piano concertos are pianistically too simple. These Clementi works on the other hand are right in line with Chopin and Beethoven. So perhaps he is the first in lineage of the true piano composers.
Clementi era disprezzato dai romantici. E' un paradosso, perché è stato proprio lui a codificare l'armonia e la forma breve del pianismo romantico. Non è un minore come molti ignoranti ancora pensano.
Muzio Clementi (1752-1832) Gradus Ad Parnassum: Complete Piano Studies / World Premiere
QUATRE PIECES EN FA MAJEUR (MAJ)
00:00 1. Con velocita
01:39 2. Allegrissimo
03:04 3. Vivacissimo
04:19 4. Allegro ma con grazia
DEUX PIECES EN SI BÉMOL
07:25 5. Andante quasi allegretto, con espressione
10:06 6. Allegro moderato
DEUX Pièces EN RÉ MAJ
13:31 7. Vivacissimo
16:09 8. Allegretto moderato e con grazia
SUITE EN LA MAJ
18:03 9. Preludio: Vivace ma non troppo
19:29 10. Canone: Allegro moderato forte e sempre legato
21:43 11. Cantabile: Allegro moderato e cantabile
SUITE EN UT MAJ
25:33 12. Preludio: Allegro
26:54 13. Fuga: Allegro non troppo
30:39 14. Adagio sostenuto
34:08 15. Finale: Allegro non troppo
DEUX PIECES EN UT MAJ
38:57 16. Veloce
40:25 17. Veloce
42:02 18. INTRODUZIONE E FUGATO EN FA MAJ
46:35 19. PRESTO EN LA MINEUR (MIN)
47:52 20. ALLEGRO EN RÉ MAJ
49:16 21. VELOCE EN Ml BÉMOL
50:40 22. ALLEGRO CON SPIRITO EN LA BÉMOL
52:51 23. PRESTO EN UT MAJ
53:51 24. PRESTO EN FA DIESE MIN
SUITE EN SI
56:00 25. Introduzione e fuga: Tempo moderato
1:00:20 26. Canone: Allegro moderato
1:02:27 27. Allegro con fuoco
DEUX PIÈCES EN SI MAJ
1:05:57 28. Allegro
1:07:43 29. Allegro ma non troppo
1:09:59 30. VELOCE EN Ml MIN
TROIS PIÈCES EN DO MAJ
1:12:16 31. Allegro con molto brio
1:14:31 32. Allegro
1:16:45 33. Canone: Moderato
TROIS Pièces EN LA
1:18:34 34. Presto
1:21:38 35. Veloce
1:23:03 36. Presto ma non troppo
SUITE EN FA MAJ
1:26:10 37. Preludio
1:27:50 38. Allegro moderato
1:35:24 39. Scena patetica: Adagio con grand espressione
1:45:42 40. Fuga: Tempo moderato
1:49:20 41. Finale: Allegro vivace
SUITE EN FA MIN
1:55:47 42. Allegro con energia, passione e fuoco
2:01:16 43. Fuga: Moderato
2:04:33 44. Allegro
SUITE EN UT MIN
2:07:43 45. Introduzione e Fuga: Allegro moderato
2:14:13 46. Allegro
2:15:05 47. Allegro en si bemol
TROIS PIÈCES EN SOL MAJ
2:16:07 48. Velocissimo
2:19:55 49. Vivace non troppo
2:24:04 50. Veloce: Vivace
SUITE EN RÉ MIN
2:25:35 51. Introduzione: Adagio
2:27:39 52. Moderato, sempre legato
2:28:51 53. Molto Allegro
2:29:47 54. Fuga
2:32:55 55. Finale presto
SUITE EN SI BEMOL
2:34:54 56. Adagio patetico sempre legato
2:36:29 57. Fuga: moderato
2:40:44 58. Finale presto
2:43:22 59. ALLEGRO NON TROPPO EN SOL BÉMOL MAJ
SUITE EN SI BÉMOL
2:44:23 60. Introduzione: Allegro
2:45:18 61. Allegro con espressione/dolce
2:50:55 62. Introduzione: Adagio Allegro moderato
2:53:03 63. Canone: Vivace
2:54:10 64. PRESTO EN SI BEMOL MAJ
2:54:52 65. ALLEGRO VIGOROSO EN FA MAJ
SUITE EN LA MAJ
2:55:43 66. Allegretto vivace
2:59:28 67. Canone: Allegro moderato
3:01:40 68. Presto
3:02:31 69. Fuga: Moderato
3:05:15 70. Scherzo: Allegretto vivace
SUITE EN Ml
3:06:10 71. Allegro legatissimo
3:08:49 72. Vivace
3:09:25 73.Canone: Allegretto
3:11:23 74. Fuga: Moderato
3:13:57 75. Canone: Allegro non troppo
3:16:27 76. Finale: Allegro
SUITE EN SOL
3:17:21 77. Allegrissimo, legato
3:18:09 78. Molto allegro
3:19:31 79. Allegro moderato, Il basso sempre legato
3:20:22 80. Capriccio: Presto
3:25:45 81. Finale: Allegro
SUITE EN RÉ
3:27:16 82. Scherzo: Molto Allegro
3:30:00 83. Moderato
3:30:53 84. Andante
3:36:36 85. Presto vigoroso
3:37:28 86. Allegro non troppo
3:39:12 87. Finale: Allegro molto vivace
SUITE EN SI
3:40:51 88. Andante con moto, ma cantabile
3:42:27 89. Presto
3:43:12 90. Fugato: Allegro non troppo
3:46:09 91. Allegretto
3:47:30 92. Finale: Allegro vivace
3:48:22 93. ALLEGRO EN LA BÉMOL MAJ
3:50:08 94. STRAVAGANZA: ALLEGRO CANTABILE
TROIS PIÈCES EN UT
3:52:07 95. Bizzareria: Vivace
3:53:43 96. Allegro agitato
3:55:27 97. Scherzo: Molto allegro
3:57:00 98. ALLEGRO VIVACE EN FA DIÈSE MIN
3:58:45 99. MOLTO ALLEGRO EN SI MIN
4:00:42 100. VIVACISSIMO EN Ml MAJ
Piano: Danielle Laval
Recorded in 1981, at Switzerland
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Danielle Laval. « She has fingers of iron ». This compliment from Arthur Rubinstein, concerning Danielle Laval's technique and astounding sensitivity, would provide to be very important support at the dawn of her career as a pianist.
A student of Vlado Perlemuter and Jean Hubeau, Danielle Laval stood out at an early age by devoting herself to musical research as soon as she completed her studies at the National Conservatory in Paris. Readily devoting herself to repertoires off the beaten path, she brings elegance, suppleness and virtuosity to works that have often been forgotten or neglected by fellow pianists.
Danielle Laval is also impassioned by suspense films and their music, which means unexpected works and an eclectic repertoire (Miklös Rözsa, Nino Rota, André Hossein, Bernard Herrmann.. .). She is also a fan of jazz, which she shares with her friend Michel Legrand.
Danielle Laval has recorded a great deal, and her abundant discography ranges from Albert Roussel's Piano Concerto to César Franck's Variations symphoniques, not to mention complete sets of Mozart's variations for piano, Mendelssohn’s Songs without Words and Clementi's etudes. Her recordings, recitals and concerts in France, Germany, Austria, Eastern Europe, Great Britain, Mexico... have been hailed by critics who are unanimous in praising her talent, her sonority and style, all of which has put her in the forefront of instrumentalists. Great pianist, but forgotten today, we hope that this publication will do him justice.
Mendelssohn - Songs without Words / Romances sans Paroles (reference recording: Danielle Laval): ua-cam.com/video/pXvkp8x_eCE/v-deo.html
Domenico Scarlatti & Muzio Clementi PLAYLIST (reference recordings): ua-cam.com/video/2xE4RzNiQWo/v-deo.html
Gradus ad Parnassum: the ascent, in stages, of Parnassus, the summit of the symbolic mountain of the Muses and, hence, art... This was the title Johann Joseph Fux had already used in 1725 for his treatise on music or, to be more precise, musical counterpoint, that was published in the Austrian capital. The collection which concerns us (the first part of which is represented on record here for the first time) does not constitute a theoretical treatise, but is instead made up of practical examples: on the first page of the first edition of his collection, the author quotes Dr. Johnson: « Examples are the best masters in all the arts. »
Today we speak of Piano studies or perhaps, in a general context, of studies for keyboard (or keyboards). This term, however, is relatively recent: it is said to have appeared for the first time in a work by Francesco Durante (1684-1755). The thing it describes dates back much further: indeed, how else should we describe the wealth of keyboard compositions entitled "ricercare", "prelude", and "variations" - all of which appeared towards the end of the sixteenth century ? During the seventeenth century, the same pieces were called (especially by certain Italians and Spaniards) exercises or "sonatas" - pieces that were intended to make the instrument "sound". Nonetheless, the great majority of these works belong to the "study" genre, i.e. a composition that aims to demonstrate how to resolve a specific instrumental problem or, to be more precise, a problem of technique.
A large part of the masterpieces of the greatest composers come under this heading. The WellTempered Clavier of Johann Sebastien Bach is undoubtedly aimed, first and foremost, at showing how it is possible to modulate into any tonality given a "tempered" keyboard harmony; it is also obvious that its author is trying to develop his performer's technique. This is even more evident in the Inventions and Sinfonias, the Trio Sonatas, and, above all, in the different sections of the Clavierübung, which contains immortal masterpieces even though it should not be forgotten that its title may be translated as « Exercises intended for the mastery of the keyboard.. ».
When they were not intended for performance in concerts, Mozart composed his works for keyboard simply to develop the pianistic technique of his pupils. In the nineteenth century the term "study" slowly became more generalised - and designated such well-known masterpieces as the most personal and inspired pages of Schumann, Chopin and Liszt, to take just a few examples. If Schumann's Symphonic Studies, the Etudes and Preludes by Chopin, or, for example, the Transcendental Studies by Liszt are so popular, and figure in the repertoire of public recitals, this is because this music is obviously as difficult from a technical point of view as it is enthralling, fascinating and expressive from a purely musical standpoint.
The question remains - should Muzio Clementi take part, and how, in this illustrious, incontestable tradition ? This question depends upon whether we consider the hundred studies that constitute the Gradus ad Parnassum as first and foremost musical compositions, or else as being primarily an extremely useful collection of exercises for pianists. We are forced to conclude that, in spite of the memorable interpretation of pianists of the calibre of Vladimir Horowitz (supported by statements such as « Clementi's Sonatas have been absent from the concert repertoire for too long... A giant such as Beethoven admired them before being influenced by them; his judgement ought to guide us… ») - in spite of this Clementi remains unknown for the majority of musicians, be they amateur or professional.
The Gradus ad Parnassum is not in itself an isolated work, but is a kind of amalgam of the composer's work in the didactical field, in the same way as the Clavierübung by Johann Sebastian Bach. As early as 1801, Clementi had edited as Introduction to the ad in London which was published in a German translation in Vienna the following year under the title "Introduction to the art of playing the piano"; shortly afterwards, moreover, Pleyel published the French translation in Paris, the title stressing the way of "touching" ("toucher") the instrument. From this treatise were extrapolated 50 lessons with fingering in all keys taken from the method or Preludes and Exercises in Major and Minor Keys, A Supplement to his Introduction to the Art of Touching the pianoforte. After this 24 Exercises on Scales in al/ keys was printed in Paris together with a Vollständige Clavierschule, in other words a complete method for learning the piano and 50 "lessons" published in several separate sections.
As for the collection itself, his full title is significant: Gradus ad Parnassum, or the Art of touching the Pianoforte, demonstrated by a series of exercises in the severe and free (elegant) styles. Clementi does not, as critics would have us believe, try merely to develop instrumental virtuosity: his aim is to form pianists both in the former baroque (contrapuntal) style as well as the "modern" style developed by the Viennese classical composers. For him the piano was already the neutral instrument par excellence as it was later with the nineteenth century composers, capable of being an orchestral or polyphonic instrument, whatever the case may be. Following the example of Bach, the great didactic pages of his maturity witness an attempt to carry the possibilities of the keyboard to their limits. By the age of twelve, Mozart had already appreciated the superiority of the piano over former keyboard instruments; in 1773 Clementi was amongst the first to receive public acclaim for his performance on the new instrument, the expressiveness of which being due to the opportunities it offered for the modulation of sound.
The collection begins by two pages indicating how to play ornaments. From the very beginning of the collection Clementi's debt to tradition may be observed: a large part of the Gradus studies are grouped into suites, with a varying degree of formal strictness, in accordance with the tonality: this is perhaps what distinguishes this work from other comparable collections, beginning with those of Cramer and Czerny. This also explains why we often think works having an intrinsically musical and expressive aim as "pure" musical compositions having no didactic or pedagogical aim.
Commenting on Muzio Clementi's already-famous volume in the equally famous "Music Magazine", Dr Croft called the composer of Gradus ad Parnassum the "father of piano music", saying that he had introduced into it "the beauties of the Italian art of song", though this is not perhaps quite true if we think of Mozart's piano works. But we understand better Clementi's interest in instrumental technique, and the vital influence that he had on the development of the English pianoforte, the first which made possible perfectly equal repeated notes, leaps of large intervals, and double or triple notes played regularly and simultaneously. We also understand Claude Debussy's humorous but moved tribute in his Children's Corner. After the fantastic development of virtuosity in the last century, the French composer saw something like the "green paradise of childish love... "
Hasta el #36. Gracias México🇮🇷
💯 hasta #36. Gracias 🇮🇷
Hasta el 36 Inclusive 👆
Gracias. ..........
Registrazione incredibile. La Lavalle ha forse realizzato la migliore registrazione integrale di sempre del Gradus. Il suono è quello giusto. Il virtuosismo quello convincente ed equilibrato con l'epoca storica della composizione. Brava davvero alla grande pianista francese che emozionò anche Rubinstein.
The best recording of the Gradus available. Such an underappreciated gem from Clementi played with elegance and crystal precision by Laval.
Exactly,warm,powerful ,lightly, but at the same time-strong.It's a pleasure to listen such a performance.
I have been listening for 5 days now - somtimes starting from the front - somtimes picking up in the middle - and it never fails to amaze me, delight me, surprise me and relax me! What a wonderful find! Thank you so much for bringing such rarities to life and give them the audience they so well deserve!
I just listened to it backwards! Terrific music
Wunderschöne Interpretation dieser fein oder perfekt komponierten Klavierwerke in verschiedenen Tempi mit klar artikuliertem doch elegantem Anschlag und mit perfekt kontrollierter Dynamik. Wahrlich intelligente und geniale Pianistin!
The first study is so beautiful. A great way to open the video.
Gradus ad Parnassum: the ascent, in stages, of Parnassus, the summit of the symbolic mountain of the Muses and, hence, art... This was the title Johann Joseph Fux had already used in 1725 for his treatise on music or, to be more precise, musical counterpoint, that was published in the Austrian capital. The collection which concerns us (the first part of which is represented on record here for the first time) does not constitute a theoretical treatise, but is instead made up of practical examples: on the first page of the first edition of his collection, the author quotes Dr. Johnson: « Examples are the best masters in all the arts. »
Today we speak of Piano studies or perhaps, in a general context, of studies for keyboard (or keyboards). This term, however, is relatively recent: it is said to have appeared for the first time in a work by Francesco Durante (1684-1755). The thing it describes dates back much further: indeed, how else should we describe the wealth of keyboard compositions entitled "ricercare", "prelude", and "variations" - all of which appeared towards the end of the sixteenth century ? During the seventeenth century, the same pieces were called (especially by certain Italians and Spaniards) exercises or "sonatas" - pieces that were intended to make the instrument "sound". Nonetheless, the great majority of these works belong to the "study" genre, i.e. a composition that aims to demonstrate how to resolve a specific instrumental problem or, to be more precise, a problem of technique.
A large part of the masterpieces of the greatest composers come under this heading. The WellTempered Clavier of Johann Sebastien Bach is undoubtedly aimed, first and foremost, at showing how it is possible to modulate into any tonality given a "tempered" keyboard harmony; it is also obvious that its author is trying to develop his performer's technique. This is even more evident in the Inventions and Sinfonias, the Trio Sonatas, and, above all, in the different sections of the Clavierübung, which contains immortal masterpieces even though it should not be forgotten that its title may be translated as « Exercises intended for the mastery of the keyboard.. ».
When they were not intended for performance in concerts, Mozart composed his works for keyboard simply to develop the pianistic technique of his pupils. In the nineteenth century the term "study" slowly became more generalised - and designated such well-known masterpieces as the most personal and inspired pages of Schumann, Chopin and Liszt, to take just a few examples. If Schumann's Symphonic Studies, the Etudes and Preludes by Chopin, or, for example, the Transcendental Studies by Liszt are so popular, and figure in the repertoire of public recitals, this is because this music is obviously as difficult from a technical point of view as it is enthralling, fascinating and expressive from a purely musical standpoint.
The question remains - should Muzio Clementi take part, and how, in this illustrious, incontestable tradition ? This question depends upon whether we consider the hundred studies that constitute the Gradus ad Parnassum as first and foremost musical compositions, or else as being primarily an extremely useful collection of exercises for pianists. We are forced to conclude that, in spite of the memorable interpretation of pianists of the calibre of Vladimir Horowitz (supported by statements such as « Clementi's Sonatas have been absent from the concert repertoire for too long... A giant such as Beethoven admired them before being influenced by them; his judgement ought to guide us… ») - in spite of this Clementi remains unknown for the majority of musicians, be they amateur or professional.
The Gradus ad Parnassum is not in itself an isolated work, but is a kind of amalgam of the composer's work in the didactical field, in the same way as the Clavierübung by Johann Sebastian Bach. As early as 1801, Clementi had edited as Introduction to the ad in London which was published in a German translation in Vienna the following year under the title "Introduction to the art of playing the piano"; shortly afterwards, moreover, Pleyel published the French translation in Paris, the title stressing the way of "touching" ("toucher") the instrument. From this treatise were extrapolated 50 lessons with fingering in all keys taken from the method or Preludes and Exercises in Major and Minor Keys, A Supplement to his Introduction to the Art of Touching the pianoforte. After this 24 Exercises on Scales in al/ keys was printed in Paris together with a Vollständige Clavierschule, in other words a complete method for learning the piano and 50 "lessons" published in several separate sections.
As for the collection itself, his full title is significant: Gradus ad Parnassum, or the Art of touching the Pianoforte, demonstrated by a series of exercises in the severe and free (elegant) styles. Clementi does not, as critics would have us believe, try merely to develop instrumental virtuosity: his aim is to form pianists both in the former baroque (contrapuntal) style as well as the "modern" style developed by the Viennese classical composers. For him the piano was already the neutral instrument par excellence as it was later with the nineteenth century composers, capable of being an orchestral or polyphonic instrument, whatever the case may be. Following the example of Bach, the great didactic pages of his maturity witness an attempt to carry the possibilities of the keyboard to their limits. By the age of twelve, Mozart had already appreciated the superiority of the piano over former keyboard instruments; in 1773 Clementi was amongst the first to receive public acclaim for his performance on the new instrument, the expressiveness of which being due to the opportunities it offered for the modulation of sound.
The collection begins by two pages indicating how to play ornaments. From the very beginning of the collection Clementi's debt to tradition may be observed: a large part of the Gradus studies are grouped into suites, with a varying degree of formal strictness, in accordance with the tonality: this is perhaps what distinguishes this work from other comparable collections, beginning with those of Cramer and Czerny. This also explains why we often think works having an intrinsically musical and expressive aim as "pure" musical compositions having no didactic or pedagogical aim.
Commenting on Muzio Clementi's already-famous volume in the equally famous "Music Magazine", Dr Croft called the composer of Gradus ad Parnassum the "father of piano music", saying that he had introduced into it "the beauties of the Italian art of song", though this is not perhaps quite true if we think of Mozart's piano works. But we understand better Clementi's interest in instrumental technique, and the vital influence that he had on the development of the English pianoforte, the first which made possible perfectly equal repeated notes, leaps of large intervals, and double or triple notes played regularly and simultaneously. We also understand Claude Debussy's humorous but moved tribute in his Children's Corner. After the fantastic development of virtuosity in the last century, the French composer saw something like the "green paradise of childish love... "
Danielle Laval. « She has fingers of iron ». This compliment from Arthur Rubinstein, concerning Danielle Laval's technique and astounding sensitivity, would provide to be very important support at the dawn of her career as a pianist.
A student of Vlado Perlemuter and Jean Hubeau, Danielle Laval stood out at an early age by devoting herself to musical research as soon as she completed her studies at the National Conservatory in Paris. Readily devoting herself to repertoires off the beaten path, she brings elegance, suppleness and virtuosity to works that have often been forgotten or neglected by fellow pianists.
Danielle Laval is also impassioned by suspense films and their music, which means unexpected works and an eclectic repertoire (Miklös Rözsa, Nino Rota, André Hossein, Bernard Herrmann.. .). She is also a fan of jazz, which she shares with her friend Michel Legrand.
Danielle Laval has recorded a great deal, and her abundant discography ranges from Albert Roussel's Piano Concerto to César Franck's Variations symphoniques, not to mention complete sets of Mozart's variations for piano, Mendelssohn’s Songs without Words and Clementi's etudes. Her recordings, recitals and concerts in France, Germany, Austria, Eastern Europe, Great Britain, Mexico... have been hailed by critics who are unanimous in praising her talent, her sonority and style, all of which has put her in the forefront of instrumentalists. Great pianist, but forgotten today, we hope that this publication will do him justice.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Thank you from the bottom of my heart for the wonderful music!!! Delight!!! BRAVISSIMO!!!
Emocionantemente magistral y único.
Algo totalmente diferente a las sonatas que conocía, pero igualmente una música para escuchar y disfrutar por los matices, acentos y figuras casi mágicas que emanan de sus notas brillantemente interpretadas por una inspirada, segura y magnífica Danielle.
아름다운 피아노 연주곡 잘 들었습니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕
Que gran tesoro nos compartes. Excelente compositor, obra e interprete. Gracias maestro.
>>5 hours of fine composition for the piano (pf? originally?) and just as fine pianism by Ms. Laval. Thank you CM/RR for the
umpteenth time for consistently making such music available.
Suite in fa- No.44.
Quando l'ho studiata nell' eseguirla mi dava una carica pazzesca non meno che suonare Beethoven o i romantici futuri.
Fughe stupende, in particolare quella in do-!!!
Very useful record. Musical performance with excellent technique. Bravo and thanks.
🕊🌟🕊
This is
ABSOLUTELY BEAUTIFUL
🙏💜🙏
💜🎵💜
Thank you! Brilliant! Amazing pianist!
Wonderful. Really. TY
Excellent
Hermoso!🙏🙏🙏
fascinated from the first monent onwards
Thanks, you are great
It doesn't sound didactic at all. First time hearing Danielle Laval and I'm charmed. Such quality of sound.
Wie inspiriert gespielt!
🌷 Thank you! 🌷
My god! Who is Danielle Laval? I guess we now know!
Thanks fron Brasil
Someone put this together with the sheet music damn it
How lovely is number 90? 🥰
genius!!
Unimaginative...derivative. A scholastic rehearsal of key exercises...great mindless music! I love it, don't have to pay attention to it (the music).
"Right now, there are people all over the world who are just like you. They're either lonely, they're missing somebody, they're depressed, they're hurt, they're scarred from the past, they're having personal issues no one knows about, they have secrets you wouldn't believe. They wish, they dream and they hope. And right now, they are sitting here reading these words, and I'm writing this for you so you don't feel alone anymore. Always remember, don't be depressed about the past, don't worry about the future, and just focus on today. If today's not so great don't worry! Tomorrow's a new chance. If you are reading this, be sure to share this around to make others feel better. Have a nice day!"
Now that sounds like a wise quote from Billy Graham! At any rate, it is a good post. I was wondering one thing though, your picture... is it earphones?
I came here for Clementi, not cliched, feel-good bromides. Thanks.
Don't you know that today is the tomorrow that you worried about yesterday?
@@jayr526 Thank you very much .🙏😇 Wish you always success, good health, love life and happiness ❤ Love you with the Love of God.❤💕🙏🙏
❤❤❤❤
Clementi's works for advanced piano studies.
I think Naxos has a complete recording of the Parnassum.
En el orden como los estudie.
Clementi is the only pianistic piano composer of his era. Mozart and Hayden's piano works are more like transcriptions of operatic or orchestral works. Even Mozart's piano concertos are pianistically too simple. These Clementi works on the other hand are right in line with Chopin and Beethoven. So perhaps he is the first in lineage of the true piano composers.
Inclusive.
Il numero 14 è troppo veloce. Ma tutto stupendo.
Hasta el #36;;;
Clementi era disprezzato dai romantici. E' un paradosso, perché è stato proprio lui a codificare l'armonia e la forma breve del pianismo romantico. Non è un minore come molti ignoranti ancora pensano.
🌹❤🌹
2:12:29
#3
#2
3
She can play
Are you the great David R I used to know in L.A?
@@rsjmd no! So sorry. Not R, and not great
L⁰