Topic: Clementi, Dussek, Hummel:  those half-forgotten guys somewhere around the time of Beethoven.
(Sometimes referred to in part as "The London Piano School")

Reading:
Hinson: Listings for each of the three composers.
Grove Dictionary: Articles on each for biographical information.
James Parakilas. Piano Roles. pp. 77-93. On reserve ML650 P37 1999

Listening:
Muzio Clementi (1752-1832): Sonata in G minor, op. 34 #2 (ca 1795) (disc 4023, v. 2, side 28 [that's not a typo]; xerox of score on reserve)
Jan Ladislav Dussek (1760-1812): Sonata in E-flat ("The Farewell"; ca 1800) (comdisc 988, score: M22 D94 G7 v.3 on reserve, first piece in book)
Johann Nepomuk Hummel (1778-1837): Sonata No. 3 in F minor, op. 20 (ca 1807) (disc 5455 v.3, side 1; xerox of score on reserve)
NB Recordings not on reserve; scores are on reserve.

As you think of answers to the following questions, take notes on your thoughts to share in class:

•Who wrote Gradus ad Parnassum?  What is it?

•Clementi was Italian, Dussek was Czech (or whatever it was then), Hummel was from what is now Hungary.  Do you hear any characteristics of their
nationalities in the music here? What geographic location do the three composers hold in common?

•What or who do each of these pieces sound like?  Hummel especially seems to be quoting from time to time -- who could he be quoting? (Listen for the
bald tribute to another composer in the third movement of this sonata!)

•All three of these pieces are very high quality.  Why have we largely forgotten the output of these three composers? Characterize their way of using the
piano.  Is it idiomatic?  What other composers are you reminded of?  Why?

•What do you think is most important about each of these composers?  What were their legacies?