“Figures, Tables, And Musical Examples”
I.) List of musical examples
Example 1: The opening of the “trio” section of the last movement of Clementi’s Op. 7 No. 2, an example of the kind of octaves that Mozart mentions in his letter of June 7, 1783. This is taken from a copy of the Artaria print that Mozart might have seen. 47
Example 2: A radical enharmonic modulation in the final movement of Op. 7 No. 3. This is taken from a copy of the Artaria print that Mozart might have seen. 50
Example 3: Performative characteristics in Schroeter’s Op. 1/1/i (1777), mm. 1–53. 84
Example 4: Imaginary first contact with Clementi’s Op. 2/2/i (1779), mm. 1–39. 87
Example 5: Imaginary first contact with Clementi’s Op. 2/6/i (1779), mm. 1–23. 89
Example 6: The “Black joke” (c.1730) and Clementi’s 1777 version, mm. 1–17, compared. 128
Example 7: Muzio Clementi, ending strategies in 1777 and c.1824 versions of the “Black joke” with a “Black joke” allusion in a 1794 sonata (Op. 33/1/ii). 129
Example 8: Thirds in Pepusch’s “Overture in the beggar’s opera,” transcribed by Thomas Arne (c.1769). 137
Example 9: Clementi, scale-exercise in G-sharp minor (1811). Praxis/theoria united: an infinitely smooth (sempre legato) and infinitely long Möbius strip of counterpoint formulated as a scale-exercise. This is a canon in contrary motion at the sixth. 187
Example 10: Op. 11/ii, Larghetto con espressione, originally published in London, John Kerpen, c.1784, and as revised by Clementi in the Oeuvres complettes (Leipzig, Breitkopf & Härtel, 1804). 201
Example 11: Op. 14/3/iii (1786 and 1815 versions compared). 202
Example 12: Op. 13/5/i (1786 and 1815 versions compared). 204–6
Example 13: Clementi’s Op. 7/2/i, Allegro (London, printed for the Author, 1783), p.10–11. 211
Example 14: Clementi’s Op. 34/1/iii, Finale: allegro (London, printed for the Author, 1795), p.9. 214–15
Example 15: Clementi’s Op. 11/iii (London, Kerpen, 1784), p.8. 216
Example 16: Jane Mary Guest, Adagio con molto espressione from Sonata for the piano forte, with an accompaniment for the violin ad libitum (London, Clementi & Co., 1807). 223
Example 17: Muzio Clementi, Didone abbandonata: scena tragica (Op. 50/2/ii) (London, Clementi & Co., 1821), p.49. 224
Example 18: Clementi’s Op. 2/4/i, mm. 1–21 (London, Welcker, 1779). 238
Example 19: Clementi’s Op. 2/4/i, mm. 1–21, as revised in 1807. Nouvelle édition […] avec des augmentations et améliorations considérables, faites par l’auteur pendant son séjour à Vienne (Vienna, Artaria, 1807). 252
Example 20: Clementi’s Op. 25/4/i from 1790, as edited by Méreaux (1864–1867). 255
II.) List of tables
Table 1: Synonymous terms relating to “power and skill in performing music” for the English language (from the Historical thesaurus of the Oxford English dictionary, ed. Christian Kay et al., Oxford, 2009). 55
Table 2: Ideological dualities for women in Euterpe, or Remarks on the use and abuse of music, as a part of modern education (c.1779). The ellipses indicate contiguous sentences. 96–97
Table 3: Ideological dualities for men in Euterpe, or Remarks on the use and abuse of music, as a part of modern education (c.1779). The ellipses indicate contiguous sentences. 98–99
Table 4: Annotations by “J. W.” in Rev. Thomas Gisborne, An Enquiry into the duties of the female sex (London, Printed for T. Cadell jun. & W. Davies, 1797), in a copy in Fisher Library, University of Sydney, Australia. 104
Table 5: Lyrics taken from “The original coal-black joke.” British Museum, G. 316. e. f.99. 125
Table 6: Op. 1, the “Black joke,” and Op. 2 compared. 135
Table 7: Typical repertoire of a female keyboardist in the 1770s. Music (now lost) belonging to “Miss Orr 1778” as documented by Eric Halfpenny in 1946. 157
Table 8: Maria’s subjectivity and complementary musical genres in Wollstonecraft’s The Wrongs of woman (published posthumously in 1798). 177
III.) List of figures o
Figure 1: Detail from an undated sketch with two Latin aphorisms attributed to Martial in Clementi’s hand. Photo by author (Library of Congress Music Division, Washington, DC). 7
Figure 2: καταρτιζοντας in Clementi’s hand from Matthew 4.21, “mending.” Photo by author (Library of Congress Music Division, Washington, DC). 9
Figure 3: “Miss Lushington,” top right-hand corner. Photo by author (Library of Congress Music Division, Washington, DC). 10
Figure 4: Graph of ideological differences regarding keyboard practicing/music education in thirty-six conduct books and treatises, 1741–1838. See the Appendix for all citations. 110
Figure 5: A nineteenth-century pianist “misreads” and “misplays” the “Daily practice,” dividing the practice over several days rather than one. Here she pledges to practice D-flat major on Saturday. Photo by author (Library of Congress Music Division, Washington, DC). 116
Figure 6: Detail from plate 3 of William Hogarth’s Rake’s progress (1735). Google Art Project at English Wikipedia / CC BY–SA (https://g.co/arts/8eJpNmrg5qGvcoz56). 124
Figure 7: Awkward, painful position of the left hand in the final fatiguing measures of Clementi’s “Black joke” (1777). Clementi repeats the position for two measures and notates that the first and fifth finger hold the octave as the second finger taps out the dissonant leading note. Photo by author. Photographed on a square piano by Johannes Zumpe and Gabriel Buntebart, London, 1776 (National Music Museum, University of South Dakota, Vermillion; cat. no. NMM 3586; Rawlins fund, 1985) with the kind permission of John Koster, curator. 133
Figure 8: Predominant characteristics of the musical preferences of male and female amateurs in English domestic keyboard culture, c.1770. 170
Figure 9: A schematic map of the social field of English keyboard culture around 1779, after Bourdieu (“The field of cultural production, or the economic world reversed,” in The Field of cultural production, ed. Randal Johnson, New York, 1993, p.29–73). 179
Figure 10: “A musical definition,” in A. F. C. Kollmann’s Quarterly musical register (1812), from Michael Kassler, A. F. C. Kollmann’s “Quarterly musical register” (1812): an annotated edition with an introduction to his life and works (Aldershot, 2008). 189
Figure 11: Eighteenth-century fingerings in a copy of Clementi’s Op. 23/2/iii currently housed in the Library of Congress Music Division, Washington, DC. Photo by author, with fingerings enhanced for clarity. 227
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