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Hyperion Records

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Landscape with Roman Ruins by Giovanni Paolo Panini (1691-1765)
Hamburger Kunsthalle, Germany / Bridgeman Art Library, London
Track(s) taken from CDA67738
Recording details: February 2009
St Silas the Martyr, Kentish Town, London, United Kingdom
Produced by Annabel Connellan
Engineered by Ben Connellan
Release date: October 2009
Total duration: 18 minutes 12 seconds

'Shelley, who adds to unfailing textural clarity, sensitivity of phrasing and fine touch a willingness to seek out what is meaningful in this music and realise it to a degree that might have surprised even its composer' (Gramophone)

'Beautifully flexible playing … Shelley is a first-rate advocate, with passage-work of crystalline clarity, light-footed pedalling, and communicating a sense of deep commitment to this unjustly under-rated repertoire. The sound … could not be better. Unreservedly recommended' (BBC Music Magazine)

'There is huge variety and pianistic invention … Shelley brings energy, vitality and clarity to the sparse textures of a work [Op 25 No 5] which owes much to Scarlatti … stunning recording quality, exemplary programme notes by the leading authority on Clementi, two discs for the price of one and generous playing time on each, and piano playing of the first order from Howard Shelley' (International Record Review)

Piano Sonata in C major, Op 33 No 3
composer
published in 1794; originally composed as a Piano Concerto

Allegro spirito  [8'40]
Presto  [5'07]

Introduction  EnglishFrançaisDeutsch
Symphonies and concertos were seldom published in England in the late eighteenth century, since, as one music publisher put it, they ‘would simply stay on the shelves’. Though we know that Clementi performed concertos at many London concerts during this period, not a single concerto of his was published during his lifetime. The single Clementi concerto we have survives in a Viennese copy in the hand of Johann Schenk, who was for a time a teacher of Beethoven. Clementi converted the concerto into a more saleable sonata, published in 1794 as Op 33 No 3 in C major. The sonata shows clear signs of its ancestry: there is a good bit of bravura passagework for both hands and one occasionally misses the harmonic support of the (absent) orchestra. And where certain orchestral interjections are written out for the piano, they tend to sound plain and four-square amidst their colourful soloistic surroundings.

from notes by Leon Plantinga © 2009

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