HAROLD B LEE LJBPARY

BINGHAM YOUNG UNIVERSITY

P^OVO, JTAH
 Digitized by the Internet Archive
in 2012 with funding from
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http://archive.org/details/selectedczernyst01czer
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Czerny Studies ffi

(LIEBLING)

Complete in Three Books

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Book One

THEODORE PRESSER CO.

1711 CHESTNUT STREET
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^elected
Gzerny Studies

Arranged in
w
Progressive Order
in Three Books

Revised, Edited and Fingered

with Annotations
by

Emil Liebling
PRICE 1.00 EACH

ThED. Presser Cd.

PHILADELPHIA PA
Copyright /SOS by Thea Presser

PRINTED IN U. S. A.
 HAROLD B. LEE LIBRARY
BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
 \

Carl Czerny was born in Vienna, February 21, order to save time, he two sheets at the first
filled

179 1, of Bohemian parentage, the name signifying desk, then did the like at the second, and so forth, so
"black." His father was a highly-esteemed pianist, that by the time the sheets on the fourth desk were
and the little fellow came into contact with the lead- finished those on the first desk had had the necessary
ing artists of Vienna, including Beethoven, who gave time in which to dry. This seems entirely credible in
him instructions for several years. He showed great view of the large number of his works, in particular
talent for composition as well as piano playing and his many sets of studies. Czerny lived almost con-
at the early age of fourteen, began to teach. During stantly in Vienna, until his death on July 15, 1857,
his lone: career as a teacher, which activity covered a making few trips and devoting his days chiefly to
period of more than fifty years, he had many dis- teaching, reserving his evenings for composition.
tinguished pupils, among whom may be noted Liszt, To show Czerny's position as a medium between
Thalberg, Leopold von Meyer and Leschetizky.
Jaell, the Classical School as represented by Beethoven and
He left a handsome fortune to Vienna charities. the Modern School, we give the following:
He was a prolific composer, his last set of studies
bearing the opus number, 848. In addition to this
Beethoven
long list with "opus," he made arrangements of all
teacher of
Beethoven's Symphonies, most of those by Haydn,
Czerny
Mozart and Spohr, many oratorios, and an edition of
teacher of
Bach's "Well-Tempered Clavichord." Besides studies,
his compositions include symphonies, masses, requiems
Liszt Leschetizky
and other music for the church service. In his etudes
teacher of teacher of
the special point is the development of the hand from
the standpoint of technic. He lays aside all attempt
at expression until position and independence of the
fingers have been acquired. Tausig D'Albert Paderewski
Czerny may be literally described as a "wandering teacher of
composer." for one of his publishers (Haslinger'l states
that he had four high desks in his room and that, in Josefry
 PREFACE
Liszt could give his pupils no better advice than ward combinations, needless repetitions and obsolete
to "practice Czerny diligently!" but to study Czerny's matter.
immortal etudes to advantage is subject to precisely The "Forty Daily Studies," Op. ^j, furnish an
the same rules and regulations as govern correct music almost complete compendium of every conceivable
studv in general. There is a logic of practice which species of technic, and merit serious attention. The
should be fully analyzed, realized and understood. "School of the Virtuoso," Op. 365, combines the same
The student who simply skims along the surface and form of comparatively brief repeating formulas in
is content with a mere smattering of knowledge will more advanced and exacting grades. In the "Left
find Czerny a difficult proposition. So will the pupil Hand Studies," Op. 399, Czerny gives to that much-
who with ill-advised ambition desires to take a new neglected member its full due. This work contains a
study at each lesson. He will never set the world very musicianly fugue, presumably added to show that
afire. Nor will the teacher accomplish results who the gifted Viennese master could do Op. 849 serves it.

perfunctorily assigns one study after the other sans as a practical introduction toOp. 299, and Op. 636 can
raison ct sans plaisir, without entering into a discussion be similarly employed in relation to Op. 740. Some
as to the practical value and purpose of each individual practical octave studies are found in Op. 553, and left
number, and who conscientiously and religiously hand work of moderate difficulty in Op. 718. The
wades through the entire fifty studies of Op. 740, sim- Toccata, Op. 92, deals with double notes, thirds, sixths,
ply because Czerny happened to stop at that figure. etc., and represents a remarkable advance on the

But why enumerate the numberless shortcomings of Clementi "Toccata" in B-flat major, then in vogue.
pupils and teachers? The pitiful results, or rather lack In the three volumes of this work a judicious se-
of results, is the best evidence of indolence on one part, lection has been attempted, not only from the foregoing
and indifference or ignorance on the other. The in- opus numbers,' but from many less-known but equally
structor who does not have his task at his fingers' valuable sets of studies. Each study has been selected
ends, technically as well as intellectually, will never with a definite purpose on account of some inherent
be able to inspire his students to their best ef- merit. The studies are arranged in progressive order,
forts. An worth a pound
ounce of demonstration is and are graded very closely, aiming toward the devel-
of explanation. Ascertain just which studies have a opment of a well-rounded technic.
practical bearing on piano playing and omit the re- The student should be made to realize the exact
mainder. The survival of the fittest is here well ap- obiect of each study and what it is intended to do for
plied. By this process of elimination, much valuable him. Appreciate the fact that each exercise repre-
time is economized, instruction is condensed, the task sents a and separate species of technic, of
definite

brought within reasonable hours and admirable results which it is only a type in a condensed form. Slow and
are obtained to the gratification of all concerned within careful study is, of course, the prime consideration,
a relatively brief period. This policy will apply to all leaving speed for later accomplishment. Master one
of Czerny's volumes, and can be adopted with equal object thoroughly before attacking another. What
force in Bach's "Well-Tempered Clavichord," and is the use of playing page ten when you stumble on
Beethoven's sonatas page two? The longer you any one study,
cultivate
What is it, then, that is so indispensable? Simply the better for you. If necessary, spend six months
the application of common sense. The studies in 299, to acquire some especially difficult point, but master it;

for instance, are usually given much too soon and the time will be well spent. But
you simply run
if

long before the student is ready for them. The follow- through a volume, nothing is gained, and the waste of

ing course may serve as an approximate guide: time is abominable. The use of the pedal is by no
means tabooed; many instances its use is
in accurately
1. Selections from Op. 261, 821, 599 and 139. indicated. The metronome marks given in many
editions are usually too fast. All speed is purely
II. Op. 829. 8_<9. 335 and 636.
relative, and no one need play any faster than is well
III. Op. 299 and 834.
within his possibilities.
IV. Op. 355. The accomplishment of a complete course of
V. Op. 740. Czerny will mean to the student a fluent and reliable
VI Octaves, Op. 553 and 8?t. technic, brilliancy, and endurance; the
versatility

VI T. Toccata, ( )p. 92.

Czerny studies will prove an "open sesame" to all the
works from Bach to Beethoven, included. For the
Never use the entire opus always omit those — modern masters, we supplement them with modern
numbers that deal with unnecessary problems, awh- etudes. . F.MIL LlEHLING.
 SELECTED
CZERNY STUDIES
Edited by Emil Liebling

BOOK I.
Raise the hand gently at the end of each slur; perfect evenness must be insisted upon in the five finger work
of numbers 4,2 and 3. Hold the whole notes of the accompaniment their full value.
Allegretto. m.m.J = 72-104.
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Practice chord positions in the left hand separate and also with the corresponding beats of the treble
ly; strike the notes of each chord pre c is ely together part. The smooth execution of all double thirds
is attended with difficulty.
Moderate M.M.J = 72
3_4
i 1
 Note the different phrasing in the accompaniment expression and phrasing The student cannot be-
.

beginning with the 9th bar. Observe all marks of gin too early to become observant of every detail
of intelligent study.
Moderate m.m.J = 80-100.
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Moderato. m.m .J =72-96

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Allegro, m.m. J =60— 100.

 9

Allegro m.m.J. = 50-60

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Play double thirds with the very lightest wrist action ami precisely together.

Allegro moderato m.m.J = 58 -66 4 4

 11

Allegretto molto legato M. M.J =,60-112

The Grace notes are here printed precisely as they should masters interpret grace notes in this manner; the changing of
be played after the last quarter and before the new bar, as it
, fingers on repeating notes in this and preceding studies is dis-
were between measures so as to bring- the corresponding' quar- pensed with, as the elementary character of the studies for -

ter notes together. Beginning with Schumann, almost all modern bids this additional difficulty.

mm
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Allegro. M .M.J =72-104.

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 13

Nos. 18 and 19 are excellent introductory trill studies; observe absolute evenness of touch and tone.

Allegro m.m.J= 50-112

Allegro M.M.J =5(K112

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Allegro M.M.J=lif5

Allegretto M.M.J =112

Allegretto. m.m.J = 108
16
Allegro moderato. M. M.J. = 50-72

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The complete turn introduced in this study is best executed in measure five and according to the
same formula in the 7th ,9th 13th and 15th bars
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Andante m.m.J = 84
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Play the lurn in the 1st and similar bars ( 6, 13 and 15 with the accompanying bass note. This mode of treat-
with the third eighth in the bass, and anticipate all other ment is followed by modern masters.
embellishments so as to bring the following treble note

Andantino m.m. =58

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Trills, grace notes and embellishments are executed and Advanced students may condense the turn into shorter dur-
used with considerable latitude. For the present grade of ad- ation playing the same four notes as thirtyseconds with the bass
,

vancement the following execution of the first and similar note C The accepted rule has been
. many decades to play
for
measures will suffice: -=-3 3 3 2 * 2 the short appoggiatura precisely with the accompanying

Mcttfcircn bass. Beginning with Schumann however, many masters pre-

This brings two sixteenth notes with the value of the corres- fer to anticipate the grace note. I incline to the latterversion
ponding eighth note in the bass, excepting the beginning of as more musical and effective. The trills in the 3d,7th ,9th,
the fourth quarter when a triplet occursjthe two finishing 11th, 13 th, 17 th, 19 th and 23 d bars are played according to the

notes are played precisely with the last eighth note; the com- previous directions. The quick shakes in the 14th bar are
plete turn in measure 5 is usually played with five notes, com-
mencing with its princip al n ote ; in this instance however I played :

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would recommend £l£g The four sixteenths Execute the complete turn in measure 21

are played with the corresponding eighth notes

Andante es press ivo M.M. J=loo

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Allegro. M.M J =116

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C sharp in the last quarter of measure three.
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Allegretto M.M.J. =76

M.M.J =112-120
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Allegro M.M.J =120

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Allegro m.m.J. = 72

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This difficult rhythmical study requires close attention. The approximate the effect of a grace note. Remove tlie hand
even progression of the triplets in the accompaniment must light ly and promptly from the keyboard duringthe rests but
nowise he interfered with by the short detached phrases of the observe the full value of the dotted notes.
treble part; the thirty-second notes will if properly executed
Vivace o-iocoso M.M.J^=i38
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Perfect evenness in five finger work is to be devel- In the scales ihe thumb must pass under the fingers
oped here. Practice the study with a variety of touches , smoothly; the descending scale in the 12th measure is

the heavy and light legato and also staccato. not easy.

Allegro M.M. Jl 100-132

61 Jtf leggiero e seiupre legato

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Although and fluent velocity is the object of
light Observe the slight difference in the fingering at the
this study, some firm and slow legato work is advis- close of the 23rd and 24th measures. Rigid self-
able at first, developing speed later on, after the pass- criticism will effect wonders in Piano study.
in- of the thumb has received due attention.

Vivace. m.m.A= 72-132

 47

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Allegro veloce.M.M.«L 84

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The dynamic signs in this scale study apply to the Observe rests carefully. Too much laxity prevails on
scale passages only. Thus the crescendi which end in this important point. At the beginning of the 11th bar
a sforzando pertain only to the running work. The ac- sound the C distinctly and do not tie it to the preced-
companiment necessitates holding a longer note its ex- ing measure. Brilliant velocity is the keynote of this
act value while playing intervening staccato chords. exercise.

Molto vivace m.m. *Li26

52
Allegretto m.m.^=]2o

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Allegro m . m. J = so - 132

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54

Many authors have utilized continuous passages in al- Accents are entirely out of question. Wherever the
ternate hands: Heller's A minor study opus 45,Mendels- phrases end alternately, as in measures 9 -11, each hand
sohn's Prelude op. 35, No. 1, and many of Bach's works must act independently. Observe all slurs, rests and le-

present this form of technique, and the Chromatic Fan- gato marks carefully. In the descending scales, measures

tnsie is a strikingexample of its effectiveness. Perfect 21 and 23 place the right hand over left, in measures
evenness is required, and there must be no intervening 25 and 27 vice versa in the ascending scale.
delay in passing from one hand to the other.

Molto presto M. M.*=138

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 57
Allegro M.M. J-116

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Play the right hand with light and even velocity. The bass carries a melody which should be invested with musical
touch.

Allegro M.M.J = 7a
 —

61
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62

This study is the reverse of the preceding and can be stiffness and unnecessary contraction. Measures 17 - 24
studied in conjunction with the same; the left hand will require special attention. Observe the fingeringcare-
must here operate with perfect freedom, avoiding all fully ttiroughout.

Allegro m.m. J = 69

iJg#a - =\ —0w ,

m-*j* sempre
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79
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so