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สำรวจชีตเปียโนโดย John Field บน Zen Virtual Piano John Field's father, Robert Field, played violin in Dublin theatres for a living. His grandfather, also named John Field, was a professional organist, and he was the one who first taught the boy the piano before Tommaso Giordani took over. Giordani, his teacher in 1791 and 1792, organised the debut: the first of three Lenten spiritual concerts, held at the Rotunda Assembly Rooms on 24 March 1792; the Dictionary of Irish Biography adds that father and grandfather had taught him piano and violin earlier. A boy surrounded by a theatre violinist and an organist, then put before an audience by his teacher, began inside a family of working musicians. Muzio Clementi, who worked as a publisher and piano maker and also as a pianist, composer and teacher, took the 12-year-old on in London for seven years, and his father was prepared to pay the huge sum of 100 guineas for the place. Playing his own piano concerto at the King's Theatre on 7 February 1799 brought him his first success as a composer. By eighteen, when the apprenticeship ended, he was already an established virtuoso in London. Classical Music magazine reports that, by all accounts, Clementi regretted bringing Field along and treated him shabbily, taking the whole fee whenever they shared a concert programme. A large sum spent on an apprenticeship, and a pupil who emerged a recognized virtuoso, suggests that the family's investment paid off even under a difficult master. What Field became known for came after London, probably in Moscow around 1807: a melody ornamented with chromatic touches, set over full-sounding left-hand parts and shaped by careful pedalling. Among the seven piano concertos Field wrote, Classical Music singles out No. 2, composed in 1812, as the most important and as a key influence on Romantic concerto composers; the same year brought his first three nocturnes. A year that produced nocturnes and a concerto, from a composer who wrote only when performance called for it, suggests how much came from need rather than habit. The Dictionary of Irish Biography says that he composed only grudgingly, to have new material to perform and usually dedicated pieces to members of the social elite. Pieces written for his own performances and dedicated to patrons suggest music born in the salon and concert room as much as in private invention. In 1815 Count Orlov arranged an offer of the honorary title of court pianist, which Field refused, and that September he agreed to a publishing deal with Breitkopf & Härtel. Field returned to Moscow in the spring of 1818, ending a short teaching connection that had begun in the winter of 1817 with three lessons for the thirteen-year-old Mikhail Glinka, who would later write fondly of him in his memoirs. A brief teaching connection remembered warmly in later memoirs suggests that a few lessons can leave a lasting mark. Turning down a court title while signing with a publishing house hints at a man who preferred to set his own terms.
สำรวจชีตเปียโนโดย John Field บน Zen Virtual Piano
John Field's father, Robert Field, played violin in Dublin theatres for a living. His grandfather, also named John Field, was a professional organist, and he was the one who first taught the boy the piano before Tommaso Giordani took over. Giordani, his teacher in 1791 and 1792, organised the debut: the first of three Lenten spiritual concerts, held at the Rotunda Assembly Rooms on 24 March 1792; the Dictionary of Irish Biography adds that father and grandfather had taught him piano and violin earlier. A boy surrounded by a theatre violinist and an organist, then put before an audience by his teacher, began inside a family of working musicians.
Muzio Clementi, who worked as a publisher and piano maker and also as a pianist, composer and teacher, took the 12-year-old on in London for seven years, and his father was prepared to pay the huge sum of 100 guineas for the place. Playing his own piano concerto at the King's Theatre on 7 February 1799 brought him his first success as a composer. By eighteen, when the apprenticeship ended, he was already an established virtuoso in London. Classical Music magazine reports that, by all accounts, Clementi regretted bringing Field along and treated him shabbily, taking the whole fee whenever they shared a concert programme. A large sum spent on an apprenticeship, and a pupil who emerged a recognized virtuoso, suggests that the family's investment paid off even under a difficult master.
What Field became known for came after London, probably in Moscow around 1807: a melody ornamented with chromatic touches, set over full-sounding left-hand parts and shaped by careful pedalling. Among the seven piano concertos Field wrote, Classical Music singles out No. 2, composed in 1812, as the most important and as a key influence on Romantic concerto composers; the same year brought his first three nocturnes. A year that produced nocturnes and a concerto, from a composer who wrote only when performance called for it, suggests how much came from need rather than habit. The Dictionary of Irish Biography says that he composed only grudgingly, to have new material to perform and usually dedicated pieces to members of the social elite. Pieces written for his own performances and dedicated to patrons suggest music born in the salon and concert room as much as in private invention.
In 1815 Count Orlov arranged an offer of the honorary title of court pianist, which Field refused, and that September he agreed to a publishing deal with Breitkopf & Härtel. Field returned to Moscow in the spring of 1818, ending a short teaching connection that had begun in the winter of 1817 with three lessons for the thirteen-year-old Mikhail Glinka, who would later write fondly of him in his memoirs. A brief teaching connection remembered warmly in later memoirs suggests that a few lessons can leave a lasting mark. Turning down a court title while signing with a publishing house hints at a man who preferred to set his own terms.
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