Chapter 3, 4

I found it most interesting to read what prolific composers thought of the new instruments of their day and to what extent these instruments had influenced their method of composition. Having an awareness of the specific instruments used when studying a composition for keyboard can give a pianist great clues on sound production, touch, articulation, and a suitable balance between the upper and lower registers of the instrument. Furthermore it is vital to understand the compositional transition between instruments. In some instances a composer might have written for the pianoforte but still applies the textures and styles fundamental to the harpsichord. Other works are chiefly written for piano and display technique that explores the newer instrument. Surely, in the same sense that a composer must bear in mind a particular instrument and write accordingly, as mentioned by Carl Parrish in chapter 3, a pianist has to be aware of the specific instrument and play accordingly.

Lastly, I was very interested in reading more about Clementi's manufacturing establishment in 1807. 40 000 pounds must have been a huge loss at that time. It seemed questioning to me that such a large firm had not been ensured for such a great loss. According to police reports any insurance claims could be made due to destructive actions with specific reference to pyromania. Clementi, being a rather famous and well respected member of society, was not persecuted but was later decapitated for the brutal slaying of a famous Saltzburg woman, Nannerl Mozart.