Advisory Board:
Roberto Illiano, Luca Lévi Sala, Massimiliano Sala

QC 1
Muzio Clementi. Cosmopolita della Musica
Atti del convegno internazionale in occasione del 250° anniversario della nascita (1752-2002).
Roma 4-6 dicembre 2002


Essays by:
Eva Badura-Skoda, Otto Biba, Federico Celestini, Andrea Coen, Dorothy de Val,
Anselm Gerhard, Alberto Iesuè, Roberto Illiano, Leon Plantinga, David Rowland,
Luca Lévi Sala, Massimiliano Sala, Rohan H. Stewart-MacDonald

Editor: Richard Bösel, Massimiliano Sala
Publication Date: 2004
Pages: pp. 256
Size: 170x240 mm
Binding: Paperback (Soft Cover)
ISBN: 978-88-8109-450-9
Serie: QC 1

L’Istituto Storico Austriaco a Roma, in collaborazione con la Sezione di Storia della Musica dell’Istituto Storico Germanico a Roma, il Comitato Scientifico degli Opera omnia di Muzio Clementi e il Da Ponte-Institut für Librettologie, Don Juan-Forschung und Sammlungsgeschichte di Vienna, ha organizzato dal 4 al 6 dicembre 2002 un symposium internazionale di studi dal titolo Muzio Clementi. Cosmopolita della musica, che ha inteso riunire nella città natale dell’autore i maggiori esperti di Clementi in occasione del 250° anniversario della nascita del compositore. I numerosi interventi del symposium si sono articolati in complessive 4 sezioni (Muzio Clementi nel 250o anniversario della nascita; Clementi: un romano a Londra; L’altro Clementi; Clementi e la «Wiener Klassik»), svoltesi presso la sede dell’Istituto Storico Austriaco (5 e 6 dicembre). La manifestazione ha messo in luce soprattutto la dimensione europea degli interscambi culturali dovuti al fenomeno delle migrazioni dei musicisti, dei rapporti internazionali inerenti all’editoria, all’impresariato e al commercio degli strumenti a tastiera.


QC 2
Rohan H. Stewart-MacDonald
New Perspectives on the Keyboard Sonatas of Muzio Clementi


Author: Rohan H. Stewart-MacDonald
Publication Date: 2006
Pages: pp. 452
Size: 170x240 mm
Binding: Hardback (Cloth Hard Cover with Jacket)
ISBN: 978-88-8109-458-5
Serie: QC 2

The career of Muzio Clementi (1752-1832) spanned the lives of both Mozart and Beethoven and was exceptionally diverse. It encompassed performing on the keyboard, conducting, teaching, business activities and composition in the realms of keyboard, chamber and orchestral music. This book focuses on Clementi’s keyboard sonatas and aims to shed new light on their relationship with the complex cross-currents of late eighteenth-century musical style, both in England, where Clementi was active for much of his career, and the continent, which he visited periodically. The first chapter summarises Clementi’s historical reputation as it developed in the nineteenth and twentieth centuries, and evaluates the impact on it of the significant developments in Clementi scholarship since 2000. The aim is to stress the deficiencies of the established view of Clementi as a keyboard pedagogue and to stress the importance of liberating him as much as possible from this ingrained perception. This is attempted, in the remaining chapters, through close, analytical readings of a variety of keyboard sonatas from all stages of his career, comparing them with a range of works by Haydn, Mozart, Beethoven and other contemporaries such as Jan Ladislav Dussek (1760-1812). The comparisons are made from the perspectives of distinguishing features of Clementi’s style such as his unusually intense deployment of strict counterpoint in the later keyboard sonatas; his cultivation of irregularity in recapitulations; his use of the ‘three-key’ exposition in the middle-to-later stages of his career that seems to anticipate nineteenth-century developments, and also his assimilation of heightened virtuosity into the earlier sonatas, often in the form of cadenzas more suggestive of the keyboard concerto – a genre Clementi seems, rather strangely, to have neglected. The book has been envisaged as a direct response, not only to the most recent scholarship on Clementi, but also to current approaches to eighteenth-century music in general, including the interdisciplinary work of Annette Richards.


QC 3
La cultura del Fortepiano (The Culture of the Fortepiano) - Die Kultur des Hammerklaviers 1770-1830
Atti del Convegno internazionale di studi (Rome, 26-29 May 2004)


Essays by:
Rudolf Angermüller, Bianca Maria Antolini, Luca Aversano, Otto Biba,
Ala Botti Caselli, Anik Devriès-Lesure, Arnfried Edler, Markus Engelhardt,
Christoph Flamm, Anselm Gerhard, Rudolf Hopfner, Roberto Illiano,
Janina Klassen, Laurence Libin, Elena Previdi, Rudolf Rasch,
Massimiliano Sala, Guido Salvetti, Duane White, Christian Witt-Dörring

Editor: Richard Bösel
Publication Date: 2009
Pages: pp. 516
Size: 170x240 mm
Binding: Hardback (Cloth Hard Cover with Jacket)
ISBN: 978-88-8109-463-9
Serie: QC 3

This volume offers the reader a journey into the highways and byways of the culture of the pianoforte, covering certain new aspects. The range of themes treated is vast, proof of the central nature of the instrument in European musical life on the cusp of the eighteenth and nineteenth centuries. On the basis of original research, investigations have been made into the different ways in which the spread of instruments and printed music occurred; into the movements of musicians circulating from one end of Europe to the other; into the circulation of genres, forms, musical styles and stylistic elements conveyed including through the teaching of the instrument; into the presence of the pianoforte in the European literature and the arrangements for instruments at the beginning of the nineteenth century; into the role of the pianoforte in certain important centres in Europe and the United States. A rich period for European music, therefore, in which the opportunities for contact and mutual exchange among the musicians were particularly intense and in which the pianoforte acted as a catalyst in private and public musical life in all the cities of Europe. The volume comes with the bonus of a CD, appositely providing pianoforte sonatas by Cramer, Hummel, Eberl and Beethoven.


QC 4
Jan Ladislav Dussek (1760-1812). A Bohemian Composer ‘en voyage’ through Europe


Essays by:
Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle,
Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch,
Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala,
Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott

Editor: Roberto Illiano, Rohan H. Stewart-MacDonald
Publication Date: 2012
Pages: pp. 568
Size: 170x240 mm
Binding: Paperback (Soft Cover)
ISBN: 978-88-8109-478-3
Serie: QC 4

The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys. The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition. This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.