Coordinates	33°51′35.9″N151°12′40″N
Name	Marmara University|
Native name	Marmara Üniversitesi|
Latin name	|
Established	1883|
Type	Public |
Staff	1375|
Rector	Prof. Dr. M.Zafer Gül
Faculty	2.835|
Students	50.092|
City	Istanbul|
Country	Turkey|
Campus	City |
Affiliations	EUA
Website	http://www.marmara.edu.tr }}

Marmara University (Turkish ''Marmara Üniversitesi'') is a public university in Turkey. Situated in Istanbul, Marmara University has succeeded in becoming the second largest university in the whole country. The University's mission is to impart and promote knowledge and values consistent with universal standards, to meet the technological, social and cultural challenges of a global society, to contribute to the creation of an informed society, which learns about and shares this knowledge and values and to emphasize the European dimension in the delivery of educational opportunities. The present Rector (US:University President) of Marmara University is Prof. Dr. M.Zafer Gül who has held this position since July 2010.

History

Ottoman Empire

Marmara University is an institution with roots extending back into the 19th century when the Hamidiye College of Higher Commercial Education was established in the Cağaloğlu district of Istanbul on January 16, 1883. At the time, it was the only leading higher education institution for studies in commerce and economics. 13 students were the first graduates in 1887. The School joined the Ministry of Education in 1889, but was abolished in 1893 to be renovated and re-opened later. It was re-opened on October 15, 1897 and has carried out its educational programs ever since.

Modern Turkey

From 1923 to 1959, the college was called the Higher Education School of Economics and Commerce and became the Istanbul Academy of Economic and Commercial Sciences in 1959. Marmara University was formally established in 1982, when the Istanbul Academy of Economic and Commercial Sciences was consolidated with several schools of higher education from different fields offering undergraduate-level study in medicine, dentistry, law, and fine arts. To these were added faculties of arts and sciences, education, and a school of foreign languages to provide a full complement of university courses. By July 20, 1982 the university encompassed 83 faculty members including 20 professors, 31 associate professors along with 197 lecturers, assistants and 280 instructors. Marmara University during 1982-1983 academic year was with 9 faculties, 1 vocational school and 1 institute. Today, the university consists of 14 faculties, 9 vocational schools of higher education and 11 graduate institutes. The number of associate bachelor’s and bachelor degree programs is 136.

Education

Marmara University with more than 3000 distinguished faculty members and a student body reaching 60.000, located in several different campuses scattered throughout the cosmopolitan city of Istanbul, following a great tradition it has been one of the leading institutions of higher education in Turkey for 124 years. The university promoted itself rapidly to an international characteristic together with the Faculties of Engineering, Medicine and Dentistry where the medium of instruction being in Turkish and English, university also comprises the Faculty of Economics and Administrative Sciences which provides education in four different languages: Turkish, English, French and German, thus making Marmara University the only “multi-lingual” university in Turkey. Having a remarkable success especially in the area of Medicine and Law both the faculty members and the students compete in their participation and dedication to academic work to enhance the educational quality and the effective implementation of scientific studies in Marmara University.

Marmara University not only to providing up-to-date contemporary education to fulfill the requirements of today’s modern society with the guidance of the norms of enlightenment but also preparing the students for the future through participatory democratic administration that is in accordance with the principles set by the constitution of Turkey. In pursuit of these goals, 2839 faculty members are employed, including 558 professors, 234 associate professors, 569 assistant professors, 237 lecturers, 987 research assistants, 172 instructors, 78 specialists, and 3 translators, 1 education planner along with 1354 administrative personnel working at various units. About a siginificiant number of 500 faculty members also teaching at other universities, thus sharing their knowledge and experience of Marmara tradition.

Marmara University currently has 57,000 students, of whom 44,661 are undergraduate students and 7,406 graduate students. A total of 1,354 foreign students from 73 countries are currently studying at the institution. The proportion of female students constituted 54% of the total student population and is steadily increasing.

Alumni

| |

Recep Tayyip Erdoğan, Prime Minister

Aydin Dogan, businessman

Nihat Ergün, minister of Industry and Commerce

Kemal Sunal, actor

Ismail Acar, artist

Nesrin Nas, academic, politician

Sevil Sabancı, businesswoman

Yaşar, musician and singer

Setenay Özbek, writer, artist, and documentary maker

Mustafa Sarıgül, former member of parliament and mayor of the Istanbul district of Şişli

Mehmet Günsür, actor

Hakan Utangaç, musician

Şebnem Paker, guitarist and singer

Yıldo, football player

Neslihan Gokdemir, journalist, columnist

Burak Gürpınar, musician

Edibe Sözen, academician and politician

Bengu, musician

Kirac, musician

Organizational Overview

Marmara University comprises 14 faculties, 9 vocational schools of higher education (generally providing 2-year associate bachelor degrees and 4-year Bachelors' in some cases), 11 graduate institutes and 32 research centers. The University currently offers a total of 136 associate bachelor's and bachelor degree programmes. Marmara University also has a Center of Continuing Education offering 20 different certificate programmes in a variety of areas, including foreign languages, computer training and initial teacher training courses. Marmara University is unique among Turkish universities in that it is the only one that currently offers education at both undergraduate and post-graduate levels in four languages of instruction: Turkish, French, English and German.

Faculties

Atatürk Faculty of Education

Faculty of Dentistry

Faculty of Pharmacy

Faculty of Arts and Sciences

Faculty of Fine Arts

Faculty of Law

Faculty of Economics and Administrative Sciences

Faculty of Divinity

Faculty of Communication

Faculty of Engineering

Faculty of Technical Education

Faculty of Medicine

Faculty of Health Education

E-Campus for Students

E-Campus of Marmara University

Graduate Schools

Institute for Graduate Studies in Pure and Applied Sciences

European Community Institute, renamed as European Union Institute in 2007

Institute of Banking and Insurance

Institute of Educational Sciences

Institute of Gastroenterology Science

Institute of Fine Arts

Institute of Neurological Sciences

Institute of Medical Studies

Institute of Social Sciences

Institute of Turcology Research

Institute of Mid-Eastern Studies

Vocational Schools

Four-year Programs

School of Banking and Insurance

School of Physical Education and Sports

School of Nursing

İstanbul Zeynep Kamil Vocational School of Health Services

School of Foreign Languages

Two-Year Programs

Vocational School of Divinity

Vocational School of Health Related Professions

Vocational School of Social Studies

Vocational School of Technical Studies

International Profile

Welcoming international students as well as providing education at international standards in almost all fields, Marmara University, with its long history, had rapidly became a modern and international university which hosts and participates in scientific meetings, cultural activities, art exhibitions and sports along with various other national and international events. Marmara University is one of the few Turkish universities, which is a member of the European University Association (EUA). Faculties of Engineering and Technical Education are also carrying out their international studies through ABET. The Faculty of Economics and Administrative Sciences and the Institute of Social Sciences are in the process of preparation for the quality assessment carried out by EQUIS, an international system of accreditation in management and business administration in Europe. The Institute of Social Sciences is now an institutional member of EFMD, European Foundation for Management Development. The Faculty of Law consistently participates in several moot court competitions around the globe such as Phillip C. Jessup Moot Court Competition in United States and Willem C. Vis Moot Court Competition in Austria. The Faculty of Law along with the Department of Political Science and International Relations represents the university in several different Model United Nations programs every year. By Socrates program university hosted 120 faculty members, while sending 53 abroad in tle last 5 years.

Serving students among 73 countries, the University has always been proactive in forming and extending its international relations. To realize its international presence, Most recently Marmara University acts to forge links with other European universities and also with the institutions outside the EU that will allow students and researchers to access a wide range of opportunities. Many academic units within the university have been successful in developing student/lecturer exchanges within the framework of the LLP, Erasmus/Socrates programmes offered by the European Commission. Within the Faculty of Economics and Administrative Sciences, the Department of Political Science and International Relations alone has developed Erasmus Agreements with the Centre for European Studies, Jagiellonian University, Poland; Department of Political Science, Stockholm University, Sweden; Faculty of Preservation of Cultural Heritage, University of Bologna, Italy; Faculty of Political and Social Science, University of Antwerp, Belgium; Institute for Political Science, University of Regensburg, Germany and the Institute for Political Science, Johannes Gutenberg University of Mainz, Germany; College of Social Pedagogy, Alice Salomon Vocational College Hannover, Germany. While the Faculty of Law has its links with University of Munster, Free University of Berlin, University of Bielefeld, University of Cologne from Germany, University of Athens from Greece, University of Linz from Austria, Paris Descartes University from France and University of Siena from Italy.

The International Office of Marmara University and the student oriented ESN Marmara organisation provide support to the foreigner students among the university. Every year the students of Marmara University organize an 'International Week' to promote the social standings of the international community of Marmara University along with offering a wide-ranged cultural program to the guest-students invited from all across the world to the event.

Efficiency in Erasmus Programme

Between 2003-2004 and 2009-2010 educational terms university has sent 1097 students abroad by Erasmus Programme. The students who admitted to program had chances to study 1-2 terms in one of the 230 partner universities of 22 European Countries. %95 of the admitted students applied to the undergraduate and graduate programs while other %5 had the chance of admitting to the foreign internship programs. Mentioned students financially supported in their time abroad by the university and European Commission. In the same time sequence Marmara University hosted 839 European students with the same programme. Due to the statistics published by the EU Education and Youth Programms Center, Marmara University is one of the top 3 choices among the foreigner students who have applied to the exchange programs offered in Turkey.

Marmara University, offers free intensive language courses(EILC) in Turkish for the foreigner students since 2006. By this program university had the honour of winning the European Language Label, an award offered from European Commission.

Campus

Marmara University has 12 campuses, with one of them serving as a hospital, widespread to the city of Istanbul.

Goztepe Campus (Main Campus)

Haydarpasa Campus

Anadolu Hisari Campus

Acibadem Campus

Nisantasi Campus

Baglarbasi Campus

Bahcelievler Campus

Kartal Campus

Beyazit Campus

Tarabya Campus

Marmara University Hospital

Sultanahmet Campus

The broadcasting around campuses are listed below:

Marmara University TV

Radio Marmara

Sports

Sports activities are officially organized by the Directorate of Health Culture and Sports for the student body. The student body and the personnel at the Marmara University can benefit from different kinds of sports and leisure activities. The facilities are provided for many different kinds of sports such as basketball, volleyball, chess, table-tennis, dancing, fitness, tae-bo and mountaineering.

On the Göztepe Campus, there is a Sports Hall with a capacity of 850 that can be expanded to 2000. In addition to the big hall, there are three smaller multi purpose halls, three classrooms, a fitness center, a billiards saloon, and a dark room for the members of the Photography Club and for those who take photography courses. On the Campus there are open courts for tennis, volleyball and basketball.

The students are encouraged to take part in men’s and women’s school teams for volleyball, basketball and soccer at the Rectorate Cup, in the tournaments for chess and table tennis and in the inter university games.

On the Anadoluhisarı Campus where the School for Physical Education and Sports is situated, there is a multi-purpose sports hall, areas of indoor and outdoor sports activity (such as tennis, volleyball), field sports (such as football and soccer), and other sports (such as gymnastics, fitness and wrestling). There is an indoor olympic swimming pool, a mini golf course, a boathouse and an athletism track.

See also

List of universities in Turkey

Erasmus/Socrates Partners of Marmara University

References

External links

Marmara University Homepage (English)

Marmara University Faculty of Engineering (English)

Marmara University Economics Student Club (Turkish)

E-Campus of Marmara University (Turkish)

Marmara Üniversitesi Öğrenci Portalı(Turkish)

Category:Educational institutions established in 1883 *

ar:جامعة مرمرة de:Marmara Üniversitesi es:Universidad de Marmara he:אוניברסיטת מרמרה mk:Универзитет Мармара nl:Universiteit van Marmara pt:Universidade de Mármara ru:Университет Мармара simple:Marmara University tr:Marmara Üniversitesi

Muzio Clementi (24 January 1752, Rome10 March 1832, Evesham, Worcestershire, England) was a celebrated composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer. Born in Italy, he spent most of his life in England. He is best known for his piano sonatas, and his collection of piano studies, ''Gradus ad Parnassum''. Nineteenth century enthusiasts lauded Clementi as "the father of the pianoforte", "father of modern piano technique", and "father of Romantic pianistic virtuosity".

Encouraged to study music by his father, he was sponsored as a young composer by Sir Peter Beckford, a wealthy Englishman who took him to England to advance his studies. He soon became known as one of the great piano virtuosi, touring Europe numerous times from his long time base in London. It was on one of these occasions in 1781 that he famously engaged in a piano competition with Wolfgang Amadeus Mozart.

Influenced by Domenico Scarlatti's harpsichord school and Haydn's classical school and by the ''stile galante'' of Johann Christian Bach and Ignazio Cirri, Clementi developed a fluent, technical legato style which he passed on to an entire generation of pianists, including John Field, Johann Baptist Cramer, Ignaz Moscheles, Giacomo Meyerbeer, Friedrich Kalkbrenner, Johann Nepomuk Hummel and Carl Czerny. He was a notable influence on Ludwig van Beethoven.

Clementi also produced and promoted his own brand of pianos and was a notable music publisher. It was thanks to this activity that many compositions by contemporary and earlier artists have stayed in the repertoire. Though the European reputation of Muzio Clementi was second only to Joseph Haydn in his day, his reputation languished for much of the 19th and 20th centuries.

Life

Childhood

Muzio Filippo Vincenzo Francesco Saverio Clementi (baptized Mutius Philippus Vincentius Franciscus Xaverius), was born in Rome, Italy on January 24, 1752, and the following day baptized in the local church of S. Lorenzo in Damaso. He was the eldest of the seven children of Nicolo Clementi (1720–1789), a noted silversmith, and Madalena, née Caisar (Magdalena Kaiser), who was Swiss. Nicolo soon recognized Muzio’s musical talent and arranged for private musical instruction with a relative, Antonio Baroni, the maestro di cappella at St. Peter’s Basilica.

Education

At the age of seven Clementi commenced studies in figured bass with the organist Cordicelli, followed by voice lessons from Giuseppe Santarelli. A few years later, probably at 11 or 12, he was given counterpoint lessons by Gaetano Carpani. By age 13 Clementi had already composed an Oratorio, ''Martitio de’ gloriosi Santi Giuliano'', and a mass. When he was 14, in January of 1766, he became organist of the parish San Lorenzo in Dámaso.

Move to England

In 1766, Sir Peter Beckford (1740–1811), a wealthy Englishman and cousin of the novelist William Thomas Beckford, twice Lord Mayor of London, visited Rome. He was impressed by the young Clementi's musical talent, and negotiated with his father to take him to his estate, Steepleton Iwerne, north of Blandford Forum in Dorset, England. Beckford agreed to provide quarterly payments to sponsor the boy's musical education until he reached age 21. In return, he was expected to provide musical entertainment. For the next seven years Clementi lived, performed, and studied at the estate in Dorset. During this period, it appears, Clementi spent eight hours a day at the harpsichord, practising the works of Johann Sebastian Bach, Carl Philipp Emanuel Bach, George Frideric Handel, Domenico Scarlatti, Alessandro Scarlatti and Bernardo Pasquini. The only compositions dated to this period are the Sonatas WO 13 and 14 and the ''Sei Sonate per clavicembalo o pianoforte, Op. 1.''

In 1770 Clementi made his first public performance as an organist. The audience was reported to be impressed with his playing, thus beginning one of the outstandingly successful concert pianist careers of the period.

In 1774, Clementi was freed from his obligations to Peter Beckford. During the winter of 1774–1775 he moved to London, making his first appearance as a harpsichordist in a benefit concert on April 3, 1775. There he made several public appearances as a solo harpsichordist at benefit concerts for two local musicians, a singer and a harpist, and served as conductor (from the keyboard) at the King's Theatre (Her Majesty's Theatre), Haymarket, for at least part of this time. His popularity grew in 1779 and 1780, due largely to the run-away sales of his newly-published Opus 2 Sonatas. His fame rose quickly, and there was enthusiastic talk in musical circles that he was the greatest piano virtuoso of the day, possibly of all time.

Clementi and Mozart

Clementi started a three year European tour in 1780, travelling to Paris, France where he performed for Queen Marie Antoinette, Munich, Germany, and Salzburg, Austria. In Vienna, he agreed to enter a musical contest with Mozart for the entertainment of Holy Roman Emperor Joseph II and his guests. On 24 December 1781, at the Vienese court. The composers were called upon to improvise and to perform selections from their own compositions. The Emperor diplomatically declared a tie.

January 12, 1782, Mozart reported to his father: "Clementi plays well, as far as execution with the right hand goes. His greatest strength lies in his passages in 3rds. Apart from that, he has not a kreuzer’s worth of taste or feeling - in short he is a mere mechanicus." In a subsequent letter, he wrote: "Clementi is a charlatan, like all Italians. He marks a piece presto but plays only allegro."

Clementi's impressions of Mozart, by contrast, were enthusiastic. Much later, the pianist Ludwig Berger recalled him saying: "Until then I had never heard anyone play with such spirit and grace. I was particularly overwhelmed by an adagio and by several of his extempore variations for which the Emperor had chosen the theme, and which we were to devise alternately."

Despite later attempts to portray the two as rivals, there's no evidence that their meeting was not cordial. At the time Clementi was exploring a more virtuosic and flamboyant style, and this might explain Mozart's disparaging attitude. One of the pieces he performed was his Op.11 toccata, a display piece full of parallel thirds. It would appear that later on Mozart's opinion might have undergone some modification. As noted by Hermann Abert in his "W.A.Mozart," the set of variations K.500 of 1786 "includes a handful of novel pianistic effects that are foreign to Mozart's earlier style and that clearly reflect the influence of Clementi."

Interestingly, Mozart used the opening motive of Clementi's B-flat major sonata (Op. 24, No. 2) in his overture for "Die Zauberflöte." It was not unusual for composers to borrow from one another, and this might be considered a compliment. Though Clementi noted in subsequent publications of his sonata that it had been written ten years before Mozart's opera--presumably to make clear who was borrowing from whom--Clementi retained an admiration for Mozart, as reflected in the large number of transcriptions he made of Mozart's music, among which is a piano solo version of the "Zauberflöte" overture.

Teaching

From 1783, and for the next twenty years, Clementi stayed in England playing the piano, conducting, and teaching. Several of his students attained a fair amount of fame for themselves: Johann Baptist Cramer, Ignaz Moscheles, Therese Jansen Bartolozzi, Ludwig Berger (who went on to teach Felix Mendelssohn), and John Field (who, in his turn, would become a major influence on Frédéric Chopin).

Publishing and piano manufacturing

In 1790, Clementi made the decision to give up his performing career, possibly in order to bolster his reputation as a composer. In 1798 he took over the firm Longman and Broderip at 26 Cheapside, initially with a James Longman, who left in 1801. Clementi also had offices at 195 Tottenham Court Road from 1806. The publication line, 'Clementi & Co, & Clementi, Cheapside' appears on a lithograph, 'Music'by W Sharp after J Wood, circa 1830s.

He also began manufacturing pianos, but in March 1807 the warehouses occupied by his new firm were destroyed by a fire, resulting in a loss of about ₤40,000. That same year, he struck a deal with Ludwig van Beethoven, one of his greatest admirers, that gave him full publishing rights to all of Beethoven's music in England. His reputation as an editor and interpreter of Beethoven's music is at least as great as his reputation as a composer, though he's been criticized for some editorial work, such as making harmonic "corrections" to some of Beethoven's scores.

That Beethoven, in his later life, started to compose chamber music specifically for the British market may have been related to the fact that his publisher was living in London.

In 1810, Clementi stopped concertizing in order to devote his time to composition and piano making. On 24 January 1813, Clementi together with a group of prominent professional musicians in England founded the "Philharmonic Society of London", which became the Royal Philharmonic Society in 1912. In 1813 Clementi was appointed a member of the Swedish Royal Academy of Music.

Meanwhile, his pianoforte business had flourished, affording him an increasingly elegant lifestyle. As an inventor and skilled mechanic, he made important improvements in the construction of the piano, some of which have become standard in instruments to this day.

Final years

At the end of 1816 Clementi made another trip to the continent to present his new works, particularly at the Concerts Spirituels in Paris. He returned to London in June 1818, after stopping off in Frankfurt. In 1821 he once again returned to Paris, conducting his symphonies in Munich and Leipzig. In London he was becoming widely acclaimed as a symphonist: in 1824 his symphonies were featured in five of the six programs at the 'Concerts of Ancient and Modern Music' at the King's Theatre.

In 1826 Clementi completed his very large collection of keyboard studies, ''Gradus ad Parnassum'', and set off for Paris with the intention of publishing the third volume of the work simultaneously in Paris, London and Leipzig. After staying in Baden and most likely making another visit to Italy, he returned to London in the autumn of 1827.

On 17 December 1827, a large banquet was organised by Johann Baptist Cramer and Ignaz Moscheles in his honor at the Hotel Albion. Moscheles, in his diary, says that on that occasion Clementi improvised at the piano on a theme by George Frideric Handel. In 1828 he made his last public appearance at the opening concert of the Philharmonic Society. In 1830 he retired from the Society.

Clementi moved outside Lichfield, Staffordshire, in 1830, and spent his final years in Evesham, Worcestershire. On 10 March 1832, after a short illness, he died. He was eighty years old. On 29 March 1832, he was buried at Westminster Abbey. Accompanying his body were three of his famous students: Johann Baptist Cramer, John Field and Ignaz Moscheles. He had been married three times and is said to have had four children.

Music

As a composer of Classical piano sonatas, Clementi was among the first to create keyboard works expressly for the capabilities of the pianoforte. Acclaimed as the father of the pianoforte and modern piano technique, this complex and influential musician was also the first virtuoso on the instrument. Clementi established the modern piano technique and influenced generations of virtuosi to come.

Of Clementi's playing in his youth, Moscheles wrote that it was "marked by a most beautiful legato, a supple touch in lively passages, and a most unfailing technique." Domenico Scarlatti may be said to have closed the old and Clementi to have founded the newer school of technique on the piano.

Among Clementi's compositions the most remarkable are sixty sonatas for pianoforte, and the great collection of Etudes called ''Gradus ad Parnassum''. Debussy's piece "Doctor Gradus ad Parnassum" (the first movement of his suite ''Children's Corner'') makes playful allusion to it. Similarly his sonatinas are still popular for piano students everywhere. Erik Satie, a contemporary of Debussy, would later parody these sonatinas (specifically the Sonatina Op. 36, No. 1) in his ''Sonatine bureaucratique''.

Clementi composed almost 110 piano sonatas. Some of the earlier and easier ones were later classified as sonatinas after the success of his Sonatinas Op. 36, and continue to be popular pedagogical pieces in piano education. However, most of Clementi's sonatas are more difficult to play than those of Mozart, who wrote in a letter to his sister that he would prefer her not to play Clementi's sonatas due to their jumped runs, and wide stretches and chords, which he thought might ruin the natural lightness of her hand .

In particular it is worth noting that Clementi also composed among the first minor key piano sonatas, in a period in which the listeners expected mostly joyful major key music.

In addition to the piano solo repertoire, Clementi wrote a great deal of other music, including several recently pieced together, long worked on but slightly unfinished symphonies that are gradually becoming accepted by the musical establishment as being very fine works. A likely reason that these later works were not published in Clementi's lifetime is that he kept revising them. While Clementi's music is hardly ever played in concerts, it is becoming increasingly popular in recordings.

Clementi's influence extended well into the 19th century, with composers using his sonatas as models for their keyboard compositions. Ludwig van Beethoven, in particular, had the highest regard for Clementi. Beethoven often played Clementi sonatas and often a volume of them was on his music stand. Beethoven recommended these works to many people including his nephew Karl. The most accurate description of Beethoven's regard for Clementi's music can be found in the testimony of his assistant, Anton Schindler, who wrote "He (Beethoven) had the greatest admiration for these sonatas, considering them the most beautiful, the most pianistic of works, both for their lovely, pleasing, original melodies and for the consistent, easily followed form of each movement. The musical education of his beloved nephew was confined for many years almost exclusively to the playing of Clementi sonatas." (''Beethoven as I Knew Him'', ed. Donald M. McArdle, trans. Constance Jolly, Chapel Hill and London, 1966). Schindler continues with reference to Beethoven's fondness for Clementi's piano sonatas: "For these he had the greatest preference and placed them in the front rank of pieces appropriate to the development of fine piano playing, as much for their lovely, pleasing, fresh melodies as for the well knit, fluent forms of all the movements." In Moscheles edition of Schindler's biography he quotes Schindler as follows: "Among all the masters who have written for pianoforte, Beethoven assigned to Clementi the very foremost rank. He considered his works excellent as studies for practice, for the formation of a pure taste, and as truly beautiful subjects for performance. Beethoven used to say...'They who thoroughly study Clementi, at the same time make themselves acquainted with Mozart and other composers; but the converse is not the fact.' "

Carl Czerny also had the highest regard for Clementi's piano sonatas and used them successfully in his teaching of Franz Liszt. Czerny referred to Clementi as "the foremost pianist of his time."

Vladimir Horowitz developed a special fondness for Clementi's work after his wife, Wanda Toscanini, bought him Clementi's complete works. Horowitz, who recorded four of Clementi's Sonatas along with shorter pieces, compared some of them to the best works of Beethoven. The restoration of Clementi's image as an artist to be taken seriously is not least due to his efforts and today to Andreas Staier, Andrea Coen and Costantino Mastroprimiano.

Being a contemporary of Mozart and Beethoven, Clementi to this day is revered as one of the greatest piano players and remains a prominent figure in the history of music, as well as in the development of the sonata form.

With ministerial decree dated 20 March 2008, the Opera Omnia of the composer Muzio Clementi was promoted to the status of Italian National Edition. The steering committee of the National Edition consisting of the scholars Andrea Coen (Rome), Roberto De Caro (Bologna), Roberto Illiano (Lucca — President), Leon B. Plantinga (New Haven, CT), David Rowland (Milton Keynes, UK), Luca Sala (Paris/Poitiers, Secretary and Treasurer), Massimiliano Sala (Pistoia, Vice-President), Rohan H. Stewart-MacDonald (Cambridge, UK) and Valeria Tarsetti (Bologna).

Critical Edition

The critical edition of the complete works of Clementi, published by Ut Orpheus Edizioni of Bologna, will consist of 15 volumes: the first two will contain vocal and orchestral music respectively, five volumes will be devoted to the chamber music, two volumes to the keyboard works, and two volumes to the didactic works. Another three volumes will contain: 1.) the doubtful works, the arrangements and transcriptions of Clementi; 2.) the correspondence; 3.) a thematic catalogue of his works together with documents relating to his life, the iconography and an updated bibliography. Each volume will contain an analytical historical introduction, a critical edition of the music and a critical commentary (comprising a list, description and criticism of the sources, an account of the interpretational problems and a list of variants).

Media

Further reading

Leon B. Plantinga: ''Clementi: His Life and Music'' (Oxford University Press, February 1977)

R. Illiano, L. Sala, M. Sala (eds.):'' Muzio Clementi. Studies and Prospects'' (Bologna 2002)

M. Sala, R. Bösel (eds.): ''Muzio Clementi Cosmopolita della Musica'' (Bologna 2004)

R. H. Stewart-MacDonald:'' New Perspectives on the Keyboard Sonatas of Muzio Clementi'' (Bologna 2006)

Notes

External links

www.MuzioClementi.com (English)

Muzio Clementi Society website

Muzio Clementi Biography by Tel Asiado on mozartforum.com

Muzio Clementi Biography on LoveToKnow 1911 Encyclopedia Britannica

Muzio Clementi by Dr David C F Wright on MusicWeb

The Finished Symphonies - Muzio Clementi, by William H. Youngren on Atlantic Monthly 1996.05.

Free scores at the Mutopia Project

Category:English people of Italian descent Category:Classical era composers Category:Italian composers Category:Italian classical pianists Category:Burials at Westminster Abbey Category:1752 births Category:1832 deaths Category:People from Rome (city) Category:Naturalised citizens of the United Kingdom

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