Descriptions of the audio recordings and instruments used in the musical examples and complete recordings, as performed and recorded for this site by Erin Helyard. The sound files may be accessed from the links below or found in the “Resources” section.
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 7 June 1783. This is taken from a copy of the Artaria print that Mozart might have seen.
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796.
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.
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796.
Example 3
Performative characteristics in Schroeter’s Op. 1/1/i (1777), mm. 1–53.
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Example 4
Imaginary first contact with Clementi’s Op. 2/2/i (1779), mm. 1–39.
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Example 5
Imaginary first contact with Clementi’s Op. 2/6/i (1779), mm. 1–23.
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Example 6
The “Black joke” (c.1730) and Clementi’s 1777 version, mm. 1–17, compared.
Erin Helyard, Viennese fortepiano after Anton Walter by Derek Adlam, with Morgan Pearse, baritone.
Example 7
Muzio Clementi, ending strategies in 1777 and c.1825 versions of the “Black Joke” with a “Black Joke” allusion in a 1794 sonata (Op. 33/1/ii).
Erin Helyard, Viennese fortepiano after Anton Walter by Derek Adlam (Example 7a); and square pianoforte, John Broadwood and Son, London, 1796 (Examples 7b and 7c).
Example 8
Thirds in Pepusch’s “Overture in the Beggar’s Opera,” transcribed by Thomas Arne (c.1769).
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
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 6th.
Erin Helyard, square pianoforte, John Broadwood & Sons, 1842; and Viennese grand piano after Conrad Graf by Paul McNulty.
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).
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796; and square pianoforte, John Broadwood & Sons, 1842.
Example 11
Op. 14/3/iii (1786 and 1815 versions compared).
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796; and square pianoforte, John Broadwood & Sons, 1842.
Example 12
Op. 13/5/i (1786 and 1815 versions compared)
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796; and square pianoforte, John Broadwood & Sons, 1842.
Example 13
Clementi’s Op. 7/2/i, Allegro (London, printed for the Author, 1783), p.10–11.
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796.
Example 14
Clementi’s Op. 34/1/iii, Finale: allegro, (London, printed for the Author, 1795), p.9.
Erin Helyard, Viennese grand piano after Conrad Graf by Paul McNulty.
Example 15
Clementi’s Op. 11/iii (London, Kerpen, 1784), p.8.
Erin Helyard, square pianoforte, John Broadwood and Son, London, 1796; and double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
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).
Erin Helyard, square pianoforte, John Broadwood & Sons, 1842; and Viennese grand piano after Conrad Graf by Paul McNulty.
Example 17
Muzio Clementi, Didone abbandonata: scena tragica (Op. 50/2/ii) (London, Clementi & Co., 1821), p.49.
Erin Helyard, square pianoforte, John Broadwood & Sons, 1842; and Viennese grand piano after Conrad Graf by Paul McNulty.
Example 18
Clementi’s Op. 2/4/i, mm. 1–21 (London, Welcker, 1779).
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
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, 1807 (Vienna, Artaria, 1807).
Erin Helyard, square pianoforte, John Broadwood & Sons, 1842.
Example 20
Clementi’s Op. 25/4/i from 1790, as edited by Méreaux (1864–1867).
Erin Helyard, square pianoforte, John Broadwood & Sons, 1842.
William Babell, “Vo far guerra” from Handel’s Rinaldo in Suits of the most celebrated lessons collected and fitted to the harpsicord or spinnet (London, John Walsh, 1717). Performed by Erin Helyard, on single-manual harpsichord, Jacob and Abraham Kirckman, London, 1773.
Link to facsimile: https://imslp.org/wiki/Suits_of_the_most_Celebrated_Lessons_(Babell%2C_William)
Muzio Clementi, The black joke with 21 variations for the piano forte or harpsichord (London, Welcker, 1777).
Erin Helyard, Viennese fortepiano after Anton Walter by Derek Adlam, with Morgan Pearse, baritone.
Link to facsimile: https://imslp.org/wiki/21_Variations_on_%27The_Black_Joke%27%2C_WO_2_(Clementi%2C_Muzio)
Muzio Clementi, Op. 2 No. 1 in E-flat major (London, Welcker, 1779).
Allegro
Allegro con spirito
Melissa Farrow, transverse flute, William Henry Potter, London, 1790s
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Muzio Clementi, Op. 2 No. 2 in C major (London, Welcker, 1779).
Presto
Rondeau: spiritoso
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Muzio Clementi, Op. 2 No. 3 in G major (London, Welcker, 1779).
Moderato
Allegretto
Melissa Farrow, transverse flute, William Henry Potter, London, 1790s
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Muzio Clementi, Op. 2 No. 4 in A major (London, Welcker, 1779).
Allegro assai ma con espressione
Spiritoso
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Muzio Clementi, Op. 2 No. 5 in F major (London, Welcker, 1779).
Allegro moltissimo
Allegretto
Melissa Farrow, transverse flute, William Henry Potter, London, 1790s
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Muzio Clementi, Op. 2 No. 6 in B-flat major (London, Welcker, 1779).
Allegro di molto
Prestissimo
Erin Helyard, double-manual harpsichord, Jacob and Abraham Kirckman, London, 1775.
Link to facsimile: 6 Sonatas, Op.2 (Clementi, Muzio) - IMSLP: Free Sheet Music PDF Download
Muzio Clementi, Nouvelle edition des trois sonatas, oeuvre II, pour le piano forte (Vienna, Artaria, 1807).
Sonata 1 in C major
Allegro quasi presto
Rondo: allegro spiritoso, ma con grazia
Muzio Clementi, Nouvelle edition des trois sonatas, oeuvre II, pour le piano forte (Vienna, Artaria, 1807).
Sonata 2 in A major
Allegro cantabile, e con espressione
Rondeau: Allegretto spiritoso
Muzio Clementi, Nouvelle edition des trois sonatas, oeuvre II, pour le piano forte (Vienna, Artaria, 1807).
Sonata 3 in B-flat major
Allegro maestoso
Prestissimo
Erin Helyard, Viennese grand piano after Conrad Graf by Paul McNulty.
Link to facsimile: https://imslp.org/wiki/6_Sonatas,_Op.2_(Clementi,_Muzio)