78
HAROLD B LEE LJBPARYBINGHAM YOUNG UNIVERSITY
P^OVO, JTAH
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in 2012 with funding from
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Czerny Studies(LIEBLING)
Complete in Three Books
Price, $1.00 Each
Book One
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THEODORE PRESSER CO.1711 CHESTNUT STREET
'PHILADELPHIA-
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Gzerny Studies
wArranged in Progressive Order
in Three Books
Revised, Edited and Fingered
with Annotationsby
Emil Liebling
PRICE 1.00 EACH
ThED. Presser Cd.PHILADELPHIA PA
Copyright /SOS by Thea Presser
PRINTED IN U. S. A.
HAROLD B. LEE LIBRARYBRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
\
Carl Czerny was born in Vienna, February 21,
1 79 1, of Bohemian parentage, the name signifying
"black." His father was a highly-esteemed pianist,
and the little fellow came into contact with the lead-
ing artists of Vienna, including Beethoven, who gave
him instructions for several years. He showed great
talent for composition as well as piano playing and
at the early age of fourteen, began to teach. During
his lone: career as a teacher, which activity covered a
period of more than fifty years, he had many dis-
tinguished pupils, among whom may be noted Liszt,
Thalberg, Jaell, Leopold von Meyer and Leschetizky.
He left a handsome fortune to Vienna charities.
He was a prolific composer, his last set of studies
bearing the opus number, 848. In addition to this
long list with "opus," he made arrangements of all
Beethoven's Symphonies, most of those by Haydn,
Mozart and Spohr, many oratorios, and an edition of
Bach's "Well-Tempered Clavichord." Besides studies,
his compositions include symphonies, masses, requiems
and other music for the church service. In his etudes
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.
Czerny may be literally described as a "wanderingcomposer." for one of his publishers (Haslinger'l states
that he had four high desks in his room and that, in
order to save time, he filled two sheets at the first
desk, then did the like at the second, and so forth, so
that by the time the sheets on the fourth desk were
finished those on the first desk had had the necessary
time in which to dry. This seems entirely credible in
view of the large number of his works, in particular
his many sets of studies. Czerny lived almost con-
stantly in Vienna, until his death on July 15, 1857,
making few trips and devoting his days chiefly to
teaching, reserving his evenings for composition.
To show Czerny's position as a medium between
the Classical School as represented by Beethoven and
the Modern School, we give the following:
Beethoven
teacher of
Czerny
teacher of
Liszt
teacher of
Tausig D'Albert
teacher of
Josefry
Leschetizky
teacher of
Paderewski
PREFACE
Liszt could give his pupils no better advice than
to "practice Czerny diligently!" but to study Czerny's
immortal etudes to advantage is subject to precisely
the same rules and regulations as govern correct music
studv in general. There is a logic of practice which
should be fully analyzed, realized and understood.
The student who simply skims along the surface and
is content with a mere smattering of knowledge will
find Czerny a difficult proposition. So will the pupil
who with ill-advised ambition desires to take a new
study at each lesson. He will never set the world
afire. Nor will the teacher accomplish results whoperfunctorily assigns one study after the other sans
raison ct sans plaisir, without entering into a discussion
as to the practical value and purpose of each individual
number, and who conscientiously and religiously
wades through the entire fifty studies of Op. 740, sim-
ply because Czerny happened to stop at that figure.
But why enumerate the numberless shortcomings of
pupils and teachers? The pitiful results, or rather lack
of results, is the best evidence of indolence on one part,
and indifference or ignorance on the other. The in-
structor who does not have his task at his fingers'
ends, technically as well as intellectually, will never
be able to inspire his students to their best ef-
forts. An ounce of demonstration is worth a pound
of explanation. Ascertain just which studies have a
practical bearing on piano playing and omit the re-
mainder. The survival of the fittest is here well ap-
plied. By this process of elimination, much valuable
time is economized, instruction is condensed, the task
brought within reasonable hours and admirable results
are obtained to the gratification of all concerned within
a relatively brief period. This policy will apply to all
of Czerny's volumes, and can be adopted with equal
force in Bach's "Well-Tempered Clavichord," and
Beethoven's sonatas
What is it, then, that is so indispensable? Simply
the application of common sense. The studies in 299,
for instance, are usually given much too soon and
long before the student is ready for them. The follow-
ing course may serve as an approximate guide:
1. Selections from Op. 261, 821, 599 and 139.
II. Op. 829. 8_<9. 335 and 636.
III. Op. 299 and 834.
IV. Op. 355.
V. Op. 740.
VI Octaves, Op. 553 and 8?t.
VI T. Toccata, ( )p. 92.
Never use the entire opus— always omit those
numbers that deal with unnecessary problems, awh-
ward combinations, needless repetitions and obsolete
matter.
The "Forty Daily Studies," Op. ^j, furnish an
almost complete compendium of every conceivable
species of technic, and merit serious attention. The"School of the Virtuoso," Op. 365, combines the sameform of comparatively brief repeating formulas in
more advanced and exacting grades. In the "Left
Hand Studies," Op. 399, Czerny gives to that much-neglected member its full due. This work contains a
very musicianly fugue, presumably added to show that
the gifted Viennese master could do it. Op. 849 serves
as a practical introduction to Op. 299, and Op. 636 can
be similarly employed in relation to Op. 740. Somepractical octave studies are found in Op. 553, and left
hand work of moderate difficulty in Op. 718. TheToccata, Op. 92, deals with double notes, thirds, sixths,
etc., and represents a remarkable advance on the
Clementi "Toccata" in B-flat major, then in vogue.
In the three volumes of this work a judicious se-
lection has been attempted, not only from the foregoing
opus numbers,' but from many less-known but equally
valuable sets of studies. Each study has been selected
with a definite purpose on account of some inherent
merit. The studies are arranged in progressive order,
and are graded very closely, aiming toward the devel-
opment of a well-rounded technic.
The student should be made to realize the exact
obiect of each study and what it is intended to do for
him. Appreciate the fact that each exercise repre-
sents a definite and separate species of technic, of
which it is only a type in a condensed form. Slow and
careful study is, of course, the prime consideration,
leaving speed for later accomplishment. Master one
object thoroughly before attacking another. Whatis the use of playing page ten when you stumble on
page two? The longer you cultivate any one study,
the better for you. If necessary, spend six months
to acquire some especially difficult point, but master it;
the time will be well spent. But if you simply run
through a volume, nothing is gained, and the waste of
time is abominable. The use of the pedal is by no
means tabooed; in many instances its use is accurately
indicated. The metronome marks given in manyeditions are usually too fast. All speed is purely
relative, and no one need play any faster than is well
within his possibilities.
The accomplishment of a complete course of
Czerny will mean to the student a fluent and reliable
technic, brilliancy, versatility and endurance; the
Czerny studies will prove an "open sesame" to all the
works from Bach to Beethoven, included. For the
modern masters, we supplement them with modernetudes.
. F.MIL LlEHLING.
SELECTED
CZERNY STUDIESEdited 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 workof 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
ly; strike the notes of each chord pre c is ely together
Moderate M.M.J = 72
i
and also with the corresponding beats of the treble
part. The smooth execution of all double thirds
is attended with difficulty.
3_41
Note the different phrasing in the accompaniment
beginning with the 9th bar. Observe all marks of
Moderate m.m.J = 80-100.
a
expression and phrasing . The student cannot be-
gin too early to become observant of every detail
of intelligent study.
Moderato. m.m .J =72-96 .
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8Allegretto, m.m. J =60-80
Allegretto. m.m.J-=50-ro.5 4^- ->>4 o "
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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 -664 4
11
Allegretto molto legato M. M.J =,60-112
The Grace notes are here printed precisely as they should
be played , after the last quarter and before the new bar, as it
were between measures so as to bring- the corresponding' quar-
ter notes together. Beginning with Schumann,almost all modern
masters interpret grace notes in this manner; the changing of
fingers on repeating notes in this and preceding studies is dis-
pensed with, as the elementary character of the studies for -
bids this additional difficulty.
Allegretto M.M.J. =56
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Allegro. M .M.J =72-104.
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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
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Allegro moderato. M. M.J. = 50-72
Allegro vivace. M. M.J =72-112. 5
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Allegro vivace m.m.J = 100-116
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Allegro m.m.J =80-116
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The complete turn introduced in this study is best executed
same formula in the 7th ,9th , 13th and 15th bars
.
Andante m.m.J = 84
in measure five and according to the
19
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Play the lurn in the 1st and similar bars ( 6, 13 and 15
)
with the third eighth in the bass, and anticipate all other
embellishments so as to bring the following treble note
with the accompanying bass note. This mode of treat-
ment is followed by modern masters.
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Trills, grace notes and embellishments are executed and
used with considerable latitude. For the present grade of ad-
vancement the following execution of the first and similar
measures will suffice: -=-3 3 3 2 * 2
McttfcircnThis brings two sixteenth notes with the value of the corres-
ponding eighth note in the bass, excepting the beginning of
the fourth quarter when a triplet occursjthe two finishing
notes are played precisely with the last eighth note; the com-
plete turn in measure 5 is usually played with five notes, com-
mencing with its principal note ; in this instance however I
Advanced students may condense the turn into shorter dur-
ation,playing the same four notes as thirtyseconds with the bass
note C . The accepted rule has been for many decades to play
the short appoggiatura precisely with the accompanying
bass. Beginning with Schumann however, many masters pre-
fer to anticipate the grace note. I incline to the latterversion
as more musical and effective. The trills in the 3d,7th ,9th,
11th, 13 th, 17 th, 19 th and 23 d bars are played according to the
previous directions. The quick shakes in the 14th bar are
played :
'.i'> 3 o 3
would recommend £l£g The four sixteenths Execute the complete turn in measure 21
are played with the corresponding eighth notes
Andante espress ivo M.M. J=loo
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Allegretto m.m.J=60
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Lento moderate M.M.J =63.
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Allegro m.m. J ^120
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25Have the hands alternate with absolute smoothness, producing the effect of perfect continuity; o b s e rv e the
C sharp in the last quarter of measure three.
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26Allegretto M.M.J. =76
M.M.J =112-120Allegro
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Allegro m.m.J = 132
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Allegro m.m.J. = 80
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Allegro M.M.J =120
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Allegro giocoso m.m. J =96
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Minor
Allegro m.m.J. = 72
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38
This difficult rhythmical study requires close attention. The
even progression of the triplets in the accompaniment must
nowise he interfered with by the short detached phrases of the
treble part; the thirty-second notes will if properly executed
Vivace o-iocoso M.M.J^=i38
'^ I'M '23^. i~£- 1
approximate the effect of a grace note. Remove tlie handlight ly and promptly from the keyboard duringthe rests but
observe the full value of the dotted notes.
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AllegTO M.M. J =126
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40Moderato. m.m.J = km
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Allegretto vivace M.M.J =1325
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simile
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43
Perfect evenness in five finger work is to be devel-
oped here. Practice the study with a variety of touches ,
the heavy and light legato and also staccato.
In the scales ihe thumb must pass under the fingers
smoothly; the descending scale in the 12th measure is
not easy.
Allegro M.M. Jl 100-132
61 Jtf leggiero e seiupre legato
\m $ J *-±-ji
44 CHORALModerate sostenuto. m.m.J -ss
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Moderato m.m. J =60-120
4 5
65
Allegro vivace m.m. J.=io8
343 2 i-i- 1 2i3 2
Jr legato
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46Although light and fluent velocity is the object of
this study, some firm and slow legato work is advis-
able at first, developing speed later on, after the pass-
in- of the thumb has received due attention.
Observe the slight difference in the fingering at the
close of the 23rd and 24th measures. Rigid self-
criticism will effect wonders in Piano study.
Vivace. m.m.A= 72-132
47
I „.^-/>Andante espressivo. m.m. J =92^'i 5-r 4̂ s._4
48Allegro veloce.M.M.«L 84
fe i:\
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Allegro vivace. m.m.J = 132
70
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50
The dynamic signs in this scale study apply to the
scale passages only. Thus the crescendi which end in
a sforzando pertain only to the running work. The ac-
companiment necessitates holding a longer note its ex-
act value while playing intervening staccato chords.
Observe rests carefully. Too much laxity prevails on
this important point. At the beginning of the 11th bar
sound the C distinctly and do not tie it to the preced-
ing measure. Brilliant velocity is the keynote of this
exercise.
Molto vivace m.m. *Li26
52
Allegretto m.m.^=]2o
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Allegro m . m. J = so - 132m *-L-+ m !«#•- ^^^J^r
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54
Many authors have utilized continuous passages in al-
ternate hands: Heller's A minor study opus 45,Mendels-
sohn's Prelude op. 35, No. 1, and many of Bach's works
present this form of technique, and the Chromatic Fan-
tnsie is a striking example of its effectiveness. Perfect
evenness is required, and there must be no intervening
delay in passing from one hand to the other.
Molto presto M. M.*=138
Accents are entirely out of question. Wherever the
phrases end alternately, as in measures 9 -11, each hand
must act independently. Observe all slurs, rests and le-
gato marks carefully. In the descending scales, measures
21 and 23 place the right hand over left, in measures
25 and 27 vice versa in the ascending scale.
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56
Allegretto vivace m.m.J = ii6
57
Allegro M.M. J-116
ik MZ ^—^I* I?
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58
Allegro mo derato m.m.J = us
77dolce leg-afo
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5 3
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5 2 5 1
1 2 1 2
50
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3 2
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60
Play the right hand with light and even velocity. The bass carries a melody which should be invested with musicaltouch.
Allegro M.M.J = 7a
61
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62
This study is the reverse of the preceding and can be
studied in conjunction with the same; the left hand
must here operate with perfect freedom, avoiding all
stiffness and unnecessary contraction. Measures 17 - 24
will require special attention. Observe the fingeringcare-
fully ttiroughout.
79
Allegro m.m. J = 69
iJg#a - =\—0 ,
m-*lJ j* sempre legato
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a
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so
