Muzio Clementi saw the piano evolve from relative fragility in the 18th century to its dominance at the beginning of the Romantic era- his influence...

Muzio Clementi saw the piano evolve from relative fragility in the 18th century to its dominance at the beginning of the Romantic era- his influence in developing the instrument’s virtuosic possibilities cannot be overstated. These works embrace this progression, illustrating Clementi’s earlier Classical style in the Sonata, Op. 1, No. 3, introducing more scintillating virtuosity in Op. 8, No. 2, and taking us to the dramatic final sonatas including Op. 50, No. 3, which narrates the story of Dido, Queen of Carthage. Sadro De Palma was born in Naples, and made his recital debut at the age of nine. At the age of sixteen, he made his debut recording of works by Liszt, and participated in the premiere recording of Clementi’s Gradus ad Parnassum for Fonit Cetra- a recording which won the 20th Italian Critics Award. He has performed at prestigious venues and festivals around the world with some of the greatest artists and ensembles including Andrea Bocelli, Donato Renzetti, Yuri Temirkanov, Boris Belkin, and others.

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REVIEW:

The excellent De Palma, playing a modern instrument, shows how much Clementi, disparaged by Mozart, lauded by Beethoven, moved with his times. He frames two early sonatas (Op1, No 3, written when Clementi was just 19, and the fecund Op 8, No 2, of 1782) with two of his final examples, Op 50, Nos 2 and 3 (“Didone abbandonata”), published in 1821. Beethoven these pieces may not be, but they run deep nonetheless. The idiom and the aesthetic are thrillingly explored.

– Sunday Times (UK)