Search - Muzio Clementi, Costantino Mastroprimiano :: Clementi: The Complete Sonatas, Vol. 1

Are fortepianos to your liking?

Dace Gisclard | Houston, TX | 07/31/2008

(3 out of 5 stars)

"Being a Clementi enthusiast, I fell upon this set and Mastroprimiano's Vol.2 with cries of joy. After five minutes, my reaction changed to disappointment. Not that Clementi isn't a great composer--he IS, and very underrated due to Mozart's reaction, motivated, as Clementi's music makes all too obvious, by professional jealousy. Mastroprimiano is a fine player, the notes are informative, and the whole project seems very well researched, but personally I feel he and Clementi are limited by the fortepianos he plays on these CD's.



Indeed, I think one's reaction to this series will be very much conditioned by how one reacts to the sound of the instruments. I find them twangy and unpleasant in the extreme. Don't misunderstand me--I'm not opposed to the "authentic instrument" movement. I've heard some fortepianos I've liked--those played by van Immerseel and Bilson are quite listenable. However, Mastroprimiano's instruments sound like a banjo, or a broken-down barroom upright.



I can't deny that it was interesting to hear Clementi played on instruments that attempt to reproduce the sound of those of his time. However, now that I've been there and done that, I want to hear this music played on instruments that allow it to speak for itself to the fullest extent. For me, this series only shows why Clementi was not satisfied with the instruments of his time. The passages of octaves and double thirds and sixths emerge as mere clatter, and don't really contribute to richness of sonority. One can partly understand Mozart's negative reaction, IF this is really what he heard. Still, as I've said, I've heard fortepianos that sound better than THIS.



Clementi sought constantly to improve the responsiveness of the instrument, its ability to play a legato line, and its beauty of tone. I truly believe Clementi envisioned a more sonorous and reponsive instrument than those of his day. If "historical authenticity" is your overriding concern, then perhaps this series is for you. (Was it Shaw who said something to the effect that "those who like this sort of thing will find this to their liking?) As Howard Shelley's continuing series for Hyperion proves, Clementi leaps to vivid life when played on the modern instrument. BUY it--you will be alternately exhilarated and deeply moved."

Fortepiano deserves a little more respect!

Giradman | 03/02/2009

(5 out of 5 stars)

"The fortepiano vs. the modern piano in the transition from the late Classical into the early Romantic periods is somewhat analogous to the harpsichord vs. various later keyboard instruments, i.e. many individuals have strong preferences. I enjoy the fortepiano in much of 18th century keyboard music in which the dynamics were not as dramatic as appeared later in the early 19th century. Clementi's composing was ahead of its time and may not be as suitable for the fortepiano, especially with an onslaught of 'chord banging' on the keys in which a modern piano handles much better; another example of 'choosing' preferences may be in the piano sonatas of Dussek (a contemporary of Clementi) - the Anreas Staier set on DHM similarly has a lot of dynamic key chording that at times seems 'heavy handed' on the fortepiano; OTOH, I also own several CPO discs w/ Becker playing Dussek's sonatas on a modern instrument - I like both interpretations on these instruments, but there is a difference!



My main point is that it is a joy to have these piano composers recorded on a variety of instruments, particularly during these transitional periods of classic music. I like both approaches when done well - Mastroprimiano is doing a tremendous service in bringing Clementi's sonatas as performed on an instrument of his time (1790 reproduction) to our attention, and the Brilliant label is to be commended as usual in packaging this material as an absolute 'steal'. And yes, I also own both volumes of Shelley doing the Clementi sonatas, and love those performances (a little biased though being a BIG Shelley fan) - guess I'm on the fence and can easily listen to either of these pianos depending on my mood; and I'm planning on picking up the second Brilliant volume soon.



Unfortunately, I was curious to read 'other' reviews on these fortepiano performances but few seem available; there is an outstanding review on 'Allmusic Guide' giving this set a 5*/5* rating for performance and sound; and the Sept/Oct 2007 issue of Fanfare reviewed the set with overall excellent comments and a strong recommendation. So, for those 'in doubt' and for the 'price of entry', give the set a try; if you've not heard a fortepiano before, then the experience might convince you to look for other recordings on that instrument. Good listening!"