Sonatas for Piano Four Hands by Muzio Clementi

Abstract

The article considers seven sonatas for piano four hands by Muzio Clementi. The relevance of the research is accounted for by the attention paid by performing piano duos to the four-hand repertoire in its diversity. In this connection, there is a necessity of a theoretical analysis of this topic, which has not yet been discussed in music science. The article aims to trace the evolution of Clementi’s sonatas for piano four hands, outline the historical context of their creation, and identify their typical features. The research suggests a two-aspect approach to the analysis of the sonatas: they are looked at from the point of view of the evolution of the composer’s style in the period 1779—1786, as well as in terms of the thematic process, sonata structure and four-hands piano texture.Clementi’s duet sonatas (belonging to the number of early four-hand works, together with the sonatas by W.A. Mozart, J.C. Bach, Ch. Burney) form a line reflecting his life impressions and representing his creative search. The first three sonatas for piano four hands — as an integral part of op. 3 — were written and published in London at the time when Clementi was gaining a reputation of a virtuoso and teacher. The sonata that opens op. 6 appeared in Paris, where Clementi started his European tour; it reflects his interaction with the contemporary music phenomena. Op. 14, which consists of three sonatas for piano four hands, was inspired by young composer’s romantic experience during his stay in Lyon (it is dedicated to Maria-Victoria Imbert-Colomes); the work sums up his achievements in this genre. Researchers list the sonatas of op. 14, which are full-fledged concert works, among Clementi’s best works and rank them on a par with four-hand sonatas by Mozart. In general, the sonatas show a tendency towards the unity of form, common thematic features within a piece, diversity of texture.It is fair to say that the sonatas for piano four hands, as well as the composer’s solo sonatas, became for Clementi a field of experiments in the sphere of piano — an instrument to which he devoted his performing, teaching and, eventually, business activities. The temperament and expression of Clementi’s sonatas, combined with their virtuosity, makes them concert compositions that can sound impressively on the big stage in the modern situation. At the same time, they can also be an excellent training material for performers of different levels.