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Joined: Feb 2008
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I am currently working on Clementi's piano sonata op 40 no 2. There is a small bit of pedal clearly marked on it, but I think that there should be pedal in other places also. What are the rules regarding adding your own extra pedalling?
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"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt) www.pianoped.comwww.youtube.com/user/UIPianoPed
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Since you're not playing on a period instrument (I'm assuming), there is no need to worry so much about pedalings. Use your good judgment, but it is best to use pedal in ways that doesn't draw attention to the fact that you're using pedal, if that makes any sense.
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Originally posted by Morodiene: Since you're not playing on a period instrument (I'm assuming), there is no need to worry so much about pedalings. Use your good judgment, but it is best to use pedal in ways that doesn't draw attention to the fact that you're using pedal, if that makes any sense. Exactly. You want to pedal so that it is both tasteful and clear. You don't want to over do the pedal, and turn the music into a mushy blob, and when you pedal you don't want to clip chords or cause run-togethers either where the harmony of one chord blobs into the next. Period instruments are a lot more resonant than the current instruments, therefore the pedal has a totally different effect. In fact you can actually use less thatn we use today and still have the music sound correct. I played some Mozart sonatas on a 1795 fortepiano and didn't need to pedal half as much as I do on my modern grand. John
Current works in progress:
Beethoven Sonata Op. 10 No. 2 in F, Haydn Sonata Hoboken XVI:41, Bach French Suite No. 5 in G BWV 816
Current instruments: Schimmel-Vogel 177T grand, Roland LX-17 digital, and John Lyon unfretted Saxon clavichord.
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Thanks for that. I'm just used to playing "later" composers so I wasn't sure if I should just play and pedal exactly as the music was written. Up to now I haven't being enjoying this Clementi piece, but afer 5 hours of good practise today, and building speed with the metrenome, I'm actually feeling good about it now, and I'm really starting to enjoy it
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Originally posted by chocolatefairy99: Thanks for that. I'm just used to playing "later" composers so I wasn't sure if I should just play and pedal exactly as the music was written. Up to now I haven't being enjoying this Clementi piece, but afer 5 hours of good practise today, and building speed with the metrenome, I'm actually feeling good about it now, and I'm really starting to enjoy it That sounds like you're making progress. You'll find Clementi to be very addicting. I like his sonatas and have worked on many of them over the years. His works are a combination of Mozart, Haydn and Beethoven. He had an influence on Beethoven who admired him very much. What I enjoy about his music is the spontaniety and humor that abounds. In the Op. 40 No 2., He pokes fun at Mozart. This b-flat sonata was played ina duel with Mozart with Kink Leopold II declaring it a draw. Clementi through in the things that Mozart didn't like, i.e. lots of fifths, octaves and thirds. This was just enough to p***-off Mozart and dig at him. The theme, by the way, is a direct quote from Mozart's "Magic Flue" or the "Marriage of Figaro". Good luck with this sonata. The last movement is one of my favorites. John
Current works in progress:
Beethoven Sonata Op. 10 No. 2 in F, Haydn Sonata Hoboken XVI:41, Bach French Suite No. 5 in G BWV 816
Current instruments: Schimmel-Vogel 177T grand, Roland LX-17 digital, and John Lyon unfretted Saxon clavichord.
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Originally posted by John Citron: What I enjoy about his music is the spontaniety and humor that abounds. In the Op. 40 No 2., He pokes fun at Mozart. This b-flat sonata was played ina duel with Mozart with Kink Leopold II declaring it a draw. Clementi through in the things that Mozart didn't like, i.e. lots of fifths, octaves and thirds. This was just enough to p***-off Mozart and dig at him.
The theme, by the way, is a direct quote from Mozart's "Magic Flue" or the "Marriage of Figaro". Actually, it was Mozart who quoted/borrowed/stole a motive from Clementi's Bb Sonata (Op. 24 #2, later revised as Op. 41 #2; Op. 40 #2 is in B minor) for use in the overture of Die Zauberflöte. Clementi made sure that post- Zauberflöte editions of the Sonata included a note stating that it was written in 1781, i.e. ten years before Mozart's opera. Interestingly enough, Clementi made a solo piano version of the overture. Go figure.
Die Krebs gehn zurucke, Die Stockfisch bleiben dicke, Die Karpfen viel fressen, Die Predigt vergessen.
Die Predigt hat g'fallen. Sie bleiben wie alle.
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Originally posted by Janus Sachs: Originally posted by John Citron: [b]What I enjoy about his music is the spontaniety and humor that abounds. In the Op. 40 No 2., He pokes fun at Mozart. This b-flat sonata was played ina duel with Mozart with Kink Leopold II declaring it a draw. Clementi through in the things that Mozart didn't like, i.e. lots of fifths, octaves and thirds. This was just enough to p***-off Mozart and dig at him.
The theme, by the way, is a direct quote from Mozart's "Magic Flue" or the "Marriage of Figaro". Actually, it was Mozart who quoted/borrowed/stole a motive from Clementi's Bb Sonata (Op. 24 #2, later revised as Op. 41 #2; Op. 40 #2 is in B minor) for use in the overture of Die Zauberflöte. Clementi made sure that post-Zauberflöte editions of the Sonata included a note stating that it was written in 1781, i.e. ten years before Mozart's opera.
Interestingly enough, Clementi made a solo piano version of the overture. Go figure. [/b]I wasn't too sure of the opus number when I posted, but I could have sworn it was the Op.40 no. 2. Anyway the B-minor sonata is really nice as well. If it's the one I'm thinking of, it has a slow introduction followed by a faster section after that. I've heard the piano solo Clementi transcription. He also did that for a few of Mozart's more famous symphonies as well. For these he transcribed them to piano quartets or trios. They sound preety cool this way. This was a sales tool used before there were recordings and CDs to bring out the latest and greatest music to the public. John
Current works in progress:
Beethoven Sonata Op. 10 No. 2 in F, Haydn Sonata Hoboken XVI:41, Bach French Suite No. 5 in G BWV 816
Current instruments: Schimmel-Vogel 177T grand, Roland LX-17 digital, and John Lyon unfretted Saxon clavichord.
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Thanks for all the info. Do you know where I could get info on the exact details on the sonata (op 40 no 2)? I'll need to write presentation notes to go with my performance. I've googled but can't seem to find much at all
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This may be helpful: web page
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