Editing Muzio Clementi (section)

=== Influence ===
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 van Beethoven|Karl]]. A 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".<ref>{{Cite book |last=Schindler |first=Anton Felix |url=https://archive.org/details/beethovenasiknew00schi/page/379/mode/1up?view=theater |title=Beethoven as I Knew Him |publisher=[[W. W. Norton & Company]] |year=1972 |editor-last=MacArdle |editor-first=Donald W. |edition=3rd |location=New York |pages=379 |isbn=978-0-393-00638-4 |translator-last=Jolly |translator-first=Constance S. |author-link=Anton Schindler |url-access=limited}}</ref> 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." Moscheles' edition of Schindler's biography quotes the latter as follows: "Among all the masters who have written for piano, Beethoven assigned to Clementi the very foremost rank. He considered his works excellent as studies for practise, 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.{{'"}}

Mozart, who wrote in a letter to his sister [[Maria Anna Mozart|Marianne]] 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.<ref>Letters of Mozart to his family, 3rd edition, 1966, ed. Emily Anderson, Norton: Letter No. 491 to his father, 7 June 1783 (p. 850): Paragraph 2, line 4</ref>

[[Erik Satie]], a contemporary of [[Debussy]], would later parody these sonatinas (specifically the Sonatina Op. 36, No. 1) in his ''[[Sonatine bureaucratique]]''.

[[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."

[[Frédéric Chopin]] would often require his pupils to practice Clementi's preludes and exercises because of the exceptional virtues he attributed to them.

[[Vladimir Horowitz]] developed a special fondness for Clementi's work after his wife, [[Wanda Toscanini]], bought him Clementi's complete works. He recorded five of Clementi's Sonatas along with shorter pieces.

By a ministerial decree dated 20 March 2008, the Opera Omnia of 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 Plantinga]] (New Haven, Connecticut), David Rowland (Milton Keynes, UK), Luca Lévi Sala (Paris/Poitiers, Secretary, and Treasurer), Massimiliano Sala (Pistoia, Vice-President), Rohan H. Stewart-MacDonald (Cambridge, UK) and Valeria Tarsetti (Bologna).