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V

Ausgewahlte

Selected

Klayier-Ettdeii

PiaBoforte-StDilJ

^

by

CARL

C2ER1TY.

Zu

tjrstematMcheoi

Studiengebrauch

geordnet,

in

Bemg

auf

Textdaratellung

Pingersat*

und

VorCragszeiehen

krfliMh roMM

imd

mil

doem

Vorwort

vtrseheii

Arranged

in

systematic

Order

wMi

crMcaUy revlaed

Text

Fingering,

Marks of

BxpressioD

HEINRIGH

GERMER.

,SSLSg:*>&^^^<$&^2Ki^

Die

Bearbeitung

1st

Eigenthum

des

Verlegers fur alle Lander.

KOPENHAGBN

UND

LEIPZIG

WILHELM

HANSEN,

MUSIK-VERLAG

KRISTIANIA

NORSK

MUSIK-FORLAG

BROORCNC

HALS-WARMOTH-

WILHELM

HANSEN

LOHOOH

ALFRED

LENCNICK

4

Co.

NEW

YORK,-

EOW.

SCHUBERTH

&

Co

Copvr't^t

isea by

Edward

Schubert^

&

Co.

CopiirijKt

i9«e

bi^

H.

W. Nieboll.

STOCKHOLM ^

A.

B.

NORDISKA

MUSIKFdRLA&ET

SCWOLANDER-WlLHELM

HANSEN

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HAROLD

B. LEE

LIBRARY

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YO'JNG

UNIVERSITY

PROVO,

UTAH

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liilialt.

Contents.

Band

I.

L

Theil:

50

Meine

Etiiden fOr die obere

Elementarstufe

aus Opus a6i,

Sti,

599

und

139.

11.

Th«il:

39

Ettiden

fur die untere

Mittelsttife

aus

Opus

8*9,

849.

33S

ond

636.

Band

II.

in.

Theil:

Schale

der Gel^ufigkeit fiir

die

Mittelstufe

30

Etiiden

aus Opus

299

und

834

W.

Theil: Special-Etfiden

fiir

die Mittelstafe

a.

Polyrhythmische

Stttdien

aus

Opus

139,

834,

335

und

199.

b..

Studien

in

der

Musikalischen Omamentik aus

Opos

355

und

834.

Band

III.

V.

Theit:

Schule

der

Gelauflgkeit fur

die obere

Mittelstufe

12

Etiiden

aus Opus

299

und

740.

VI.

Theil:

36

Octaven-Stttdien f(ir die Mittel-

imd

Oberstofe

aus

Opus

821,

335,

740

und

834.

Band IV.

vn.

Theil:

Schule

des Legato und

Staccato

fur die

angehende Oberstufe

20

Etuden aus Opus

335.

VIII.

Theil:

Kiinst der Fingerfertlgkeit

fur

die

Oberstufe

19

Etuden

aus

Opus

740

und

die

Toccata

(Op.

92).

Vol.

I.

Part

I. Fifty

small

Studies

for

the

upper

Elementary

grade.

Fron)

Op. 261,

Szi,

599

and

139.

Part.

II.

Thirty

two Studies

for

the lower

middle

grade.

Froo)

Op

829,

849,

335

and

636.

Vol.

II.

Part. III. School

of Velocity for

the

middle

grade.

Thirty

Studies

from.

Op.

299

and

834.

Part.

IV.

Special

Studies

for the

middle

grade

A)

Polyrythmic Studies

from

Op.

139.

834,

335

and

299.

B)

Studies of

Ornamentation

from

Op.

355

and

834.

Vol. Hi.

Part.

V.

School

of

Velocity for

the upper

middle

grade.

Twelve Studies

from

Op.

399

and

740

Part.

VI.

Thirty

six

Octave

Studies for

the

nuddle and

upper grade.

From

Op

8a

i,

335,

740

and

834

Vol. IV.

Part.

VII. School

of

Legato

and Staccato

for

the

advancing upper

grade.

Twenty

Studies from

Op.

335.

Part.

VIII.

The

Art

of developing the

fingers

(Fingerfertigkeit)

for

the

upper

grade.

Nmeteen

Studies

from

Op.

740

and the

Toccata

(Op.

92).

8/21/2019 Czerny-Germer Vol. I y II

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Vorwort

Die

Entwickelung

der

neucren

brillanten

Klavier-

technik.

wie

sre

sich

seit

W.

A.

Mozart

in

der

V

Wiener

Schule«

vollzogen

hat,

ist

mit

dem

Wirken

und

Schaffen

Carl

Czernfs

eng

vcrbun-

den.

Derselbe,

geboren

am

Ji.

Februar

1791

zu

Wien

und

ebendaselbst

am

15.

Juli

1857

ge-

storben.

enlfaltete

in

diesem

Zeitraume

eine

ausserordentlich

anregende

Tbatigkeit

sowohl

als

Klaviervirtuos.

wie

als

Lehrer

und

Componist.

Sohn

und

SchUler

eines

tUchtigen

Pianisten und

Klavjerlehrers

Weniel

Czerny,

(daneben

auch

einige

Zeit

hindurch

sich

der

Unierweisung

L

van

Beethoven's

erfreuend)

stellie

er

sein frUh-

reifes

musikalisrhes

Talent

vorzugsweis

in

den

Dienst

des

niusikalischen

Lehrfachs

und

zwar

mit

so

entschiedenesu

Erfolg,

dass

er

bald

der

gesuchteste

Klavierpadagog

Wiens

war und F.

Liszt,

S

Thalbetg,

Th.

DOhler

u. a.

zu

seinen

SchUlern

zahlte.

Daneben

auch

als

Tonsetzer

(insbesondere

f«r

sein

Instrument)

rastlos schaffend,

brachte

er

die

Zahl

seiner

Werke nahezu

auf

1000.

Wenn

darunter

auch

Vieles

war,

das,

weil

es

der

Mode

des

Tages

allzusehr huldigte,

auch

mit

ihr bald

verging,

so

wohnt

doch

sein«n

ifutrukliven

Klavierwerken

—

und

darunter

ins-

besondere

den

EtUden

—

ain hoher, dauemder

Werth

inne.

Da

sie

dem

lebendigen

Wechsel-

verkehr

mit der

Unterrichts-Praxis

ihre Entste-

hung

verdankten

und

deren

BedUrfnissen

abge-

lauscht

waren,

so

wurde

ihnen

hierdurch

eine

bleibende

Bedeutung

aufgeprigt, die ihnen

auch,

selbst

den erhOhten

Anfordeningen der Jetztzeit

gegenUber,

in

unverminderter

Kraft

erhalten

geblieben.

Denn

Czerny's

Grundsatz

bei

Ab-

fassung

der

ElUden:

Dk

Grundformen

der

Klaviertechvik

in

ihnen

als

klanglich

reiivolle

Afoth'-Durch/ukrungen

bei

nicht

zu compUcirt-

modulator

ischer Setsweise

co

hinzusiellen, dass

damit

selbst minderbtgabten

SchUlern

tine

fliessende

Geldufigkeit

und

technische

Sichtrheit

angeeignet

werden

kann,

bewahrte

sich

beira

Unterricht

als

so

ausserordentlich

praktisch,

dass

seine

Etuden

dieserhalb

fortan

rait

Vorliebe

beira

Klavier-

unterricht

Verwendung

gefunden

haben. Dies

gilt

besonders

von

denen

in Opus

299

»Schule

der

Gclaufigkeitf,

Opus

335

»Schule

des

Legato

und Staccato*,

Opus

355

*Schule

der

Verzie-

rungen« und Opus

740

vKunst

der

Fingerfertig-

keit*.

Allein nicht

alle

Nuramern

dicser .Werke

sind

gleichwerthig

Manche enthalten

Veraltetes,

andere UeberflUssiges oder doch zu

gleichf&rmig

Wiederkehrendes, noch

andere

verarbeiten

in

breiter

F orm Motive,

die viel

besser

und

schneller

an einfachen

technischen

Uebungen

angeeignet

werden kOnnen.

Alle diese haben fUr die

heutige,

fortgeschriitene

Musikpidagogik

Werth

und

Be-

deutung verloren,

zumal dtese

ja auch

noch

andere

Ziele,

als

Czerny

seinerzeit

kannte,

zu

vcrfolgen hat.

Rine

zeitgemdsse

Neu-Ausgabe

der

Czerny'

schen

Etitdfn

kann

daher

auch

nicht

in

falsch

ver-

standencr

Pietftl

die

alten

Oiiginal Aiisgaben

pure

abdrucken

(dcnn

dies

hirsse

nur

die

Makulatur

Preface.

J

he dcvelopcRient

of the newer

brilliant

Piano-

forte

technique,

as

it

has

e&Ubliihed

itself in

the

>

Vienna

SchooU

since

the

time of W. A*

Mozart,

is

closely

connected

with the

labour

and

productions

of

Charles

Gurny.

Born

at

Vienna

on the

aist of February

1791.

he

died

there on

the

2sth

of

July

J857,

and displayed

within

this

space

of time

an

extraordinary

activity as

pianoforte

virtuose

as

well as

a teacher and

composer.

Son and

pupil of

a

very clever

pianist

and

pianoforteteacher

Wtnxel

Ckerny,

and

enjoying

also

the advantage

for

some

itme, of

the teaching

of

L.

van Beethoven,

he

dedicated his

earJy

ripened musical

talent

to

the service

of

the

Musicteaching profession,

and

h's

attempt

was

crowned

with

such great

success

that

he

soon

became

the

most

renowned

pianoforte

pedagogue

of

Vienna,

and

counted

among

his

pupils

F.

Liszt,

S. Thalberg, Th

I^dhler.

and

others.

As a

composer also,

especially for

his

in-

strument, the

number of

his

works amount

to

nearly one

thousand,

and

if

among

these, there

is

a

good deal

wtitten

in

accordance

whit

the

taste and fashion of

the

period, it

soon disappea-

red

with

it,

there

yet

remains

within

his

instruetive

pianoforte

works, (and

among them especially

his

studies),

much

of

a

great

and

lasting

value.

As it

was

due

to

the

continual

intercourse with

Teaching

practice

that

they

were

called

ino

existence, and

as

the results

of

practical

expe-

rience, they

are through

this stamped

with

an

ernluring

importance,

which

even,

h.is

preserved

its

undiminished

power, brought

face

to

face

with

the

higher

modern

exigencies.

Czerny's idea

in

composing

these

Studies:

so

as to

insert

in

the

fundamental

forms

0/

piano-

forte

technique,

in

a

not

too

complicated

and

modulated style,

melodious

and

graceful

theme-

developements,

so that

even less

talented

pupils may

acquire

thrcugh them

a

fluent

velocity and technical

firmness

proved

so

eminently

practical

that

for

this

reason they

have from

the

first

been

used

with

predilection

in

teaching the pianoforte.

This

concerns

especially

the

studies con-

tained

in

Op.

a99

»School

of Velocity*

Op.

335

»School

of

Legato*

Op

35s

>School

of

Ornamen-

tation< and

Op

740

»Art of

developing

the

Fingers.*

But

not all the

numbers

of

these works

possess equal

value

I Many of

them are

enti-

rely

obsolete, others

superfluous

or

repetitions

too

similar

in

form.

whiUt others

are

themes

worked

out

in

an

elaborate

style,

which

may

be

more

suitable for

simple

technical

exercises.

All

these

have

lost

their

value

and

importance

for

the

modern advanced

Science

of

music,

and

have

been

relegated

to

quite different

purposes

than

those originally

intended for

them

by

Czerny.

To simply reprint

the eld

editions

of

Czerny's

Studies

would,

not

be

in

accordance

whit

the

spirit

of

the

time and

therefore

mis-

understood,

and only

increase

waste

paper

but

8/21/2019 Czerny-Germer Vol. I y II

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Vorwort.

-

Preface.

vermehren), sondern

wird eine

strenge Aurwahl

unter

dein

in

Ueberfulie verhandenen

Material

treflfen mUssen, su'dass nur

wirklich

Fordtrndts

und zugleich

musikalisch

WcrthvolUs

zur

Auf-

nahme

gelangt.

Dieser

ausgewahlte

Lehrstoff

ist sodann

als

ein

stufenweii

fortichrtitendtr.Lehr

gang zu ordnen und

in

seitgemass

insiruktiver

Wtis€

zu gestaiten.

Nach

diesen Grundsiltzen

ist

der

Heraus

geber in Bezug auf

Auswahl, Anordnung

und

Gestaltung

des Materials be:

der

voriiegenden

Neu-Ausgabe

verfahren

Czerny's anerk-anntestcs und verbreitestes

Werk >DieSchule

der Geliufigkeii* ist

darin in

den

Mittelpunkt

des

Ganzen gestellt

und ihm

sein

ihm

zukomraendcr

Platz

auf der

MitUhtufc

angewiesen worden.

Die

Aufgabe,

eine

sysUmatischt Varbereiiur^

ftir

dieses

Werk

zu

gewinnen,

war

bisher dadurch

sehr

erschwert,

dass die

(Jazu

nOthigen

Materiahen

nur

zerstreut

in

den verschiedensten Studien-

sammiungen

aufzufinden

waren,

was

leider

htlufig

zur

Folge

hatte.

dass Opus

299

viel zu frilh

niit

den SchQjern in Angriff genommen wurde.

Hier sind

jetzt

diese

Materialieu

in

stufen-

massigetn

Aufbau

aus Opus

361,

831,

599

und

139

als 1. Theii:

j(?

kUine

Eiiidtv, fUr die obert

EJtementarstufe

und

aus

Opus

829,

849,

355

und

636

als

II.

Theil:

32

Ftuden fUr

die

untere

Mittthtuft

zusammengestelh

worden,

und ihr

Studium

wird

die Schiiler

dahin

beOlhigen, daa^

alsdann

Opus

399

ohnc

sonderliche Schwierigkeit und

mit

vollem Nutzen studirt

werden

kann.

Auf

Eines

sei

jedoch

hierbei

aufnierksam

gemacht:

sollen

Etuden bei massigem

Aufwand

von

MUhe und

Zeit

wie

richtiger

Tenoponahme

gelingen, so

hat

als Vorbtrdtung

das Studium

tecknischer

Uebungtn,

die das Motivmaterial

der

Ettlden

dem

Schiller

schon

gclaufig machen,

vorauszugehen. Als

systematfsche Anleitung

hierzu

sei

auf

des Herausgebers Opus 28

„

Itchnik

des

Klavierspieli

(C.

F. Leede,

Leipzig)

ver-

wiesen.

—

»Die Schule

der Gelaufigkeit<,

von

deren

40

Etuden

nur

38 nach ihrem

Schwierigkeits-

grade

der

eigentlicken

Mitttlstufe

zuzuweisen

wa-

ren,

ist

hier ais ///

Theil

mit

jo

Etiiden

(2

aus

Op.

834)*)

in

progreisivtr

Neuordnun%

der

Num-

mtrn

zusamraengestelll

worden,

da

sich die

ur-

sprUngliche

Anordnung

derselbcn fUr den

Unter-

richtsgebrauch

als

wemg

praktisch

erwies.

Der

Mittelitufe

gehbrt

auch der

IV,

IheU

mit seinen

Specialstudien an.

welche

a)

als

rkythmische

Studien

(ausgew&hlt

aus Op.

139,

^34*

355

^^^

^99^

 '^^

^)

^^^ Studien in der

Musikalischtn

Ornamtntik

(entnommen aus

Opus

355

und

834)

auftreten.

Emige Nummern

aus

Opus

355

sind

in

gekUrzter

Form

dargeboten

worden.

iJenn das Charakteristische

der Einzel-

verzierungen

ist

auch

an

kUrzeren

Satzen

zu

begreifen

und

techmsch

anzueignen,

so

dass

es

dazu

nicht

endloser

Wiederholungen bedarf,

umsoweniger,

wenn

deren musikalischer Inhalt

in keinera

Verhaltniss zu

der weitgedehnten

Form steht

^

Vom

Autor als „Meue S«hule

d«r

GeUufigkcit bezeicfaQct

it

has

to

be compiled

of a

cartful

selection

from

the

abundant

material

at

hand,

so

that

only

that which

is really progressive

and at

the same

time musically

valuable

be

included.

This

selected

teaching-material

has then

to

be

arranged

in a

progressive

course

and

to

be

shaped

in

an

in-

structive

manner

in

accordance with

modern

requiremtnts.

According

to

these

principles

the

Editor

has

procei^Jed

as

to the Selection, Order

and

Form with

the

material

of the present

New

Edition.

Czerny's >School

of

Velocity*

has

been

placed

in the

centre

of

ali, and to

it

has

been assigned

its

suitable

position

in

the

middle

grade.

The task of

preparing this

work

in

a

classified

order, was

up

to the

present

rendered

very

di^cult

through

the necessary

materials

being only

to be

found

scattered

in many

diflFerent Collections

of Studies,

unfortunately

the

resuh

of

which

was

that

frequently

Op.

299

was

taken

up

much

too

soon

by

the

pupil.

Now these materials have

here been

brought

together

in

a

systematic

compilation,

taken

from

Op. 261,

821,

599

and

139

forming

Part

I:

Fifty

small

Studies

for

the

upper

Elementary

grade, and

from Op.

829,

849,

335

and

636,

forming

Part

II:

Ikirty

two

Studies for the

lo^wer middle

grade the

Study

of

which

will

enable

the

 pupil

to

practice

Op

299

without

any

notable diffi-

culty

and

with

entire advantage.

Here

however

observe one

thing:

should

Studies be mastered

at

a

moderate

expense

of

time

and

trouble

as well as

with

a

careful

observation of Tempo, they

have

to

be prece-

ded

by a preparatory

study of Technical Exer-

cices

the

nature

of these

Studies,

having

already

given

fluency

(velocity)

to

the

pupil.

As

a

systematic guide

to

this

the Editor's

Op.

a8

^Jechmque

0/

pianoforte

playing (C.

F.

Leede,

Leipzig)

is recommended.

The

i>

School

of Velocity

«,

out of

its

forty

Studies,

only

twenty

eight, according

to

their

degree

of difficulty

can

be

assigned

to the

pro-

per

middle

grade,

and

has

been

here brought

together

as Fart

III

with

Thirty

Studies

(two

from

Op.

834*)

numbered in new

progressive

order, as

their

original

Classification

proved

less

practical

for

teaching.

The

middle

grade

belongs

also

to

Fart

IV

with

its

special

Studies

which figur

A)

as

Foly-

rythmic

Studies

(selected from Op

139, 834,

335

and

299),

and

B)

Studies

of

musical

ornamentation,

(taken

from

Op

355

and

834).

Some

numbers

of

Op

355

^*v*

\ittn

presented

in abbre-

viated

form.

The

characteristics

of

simple

ornamentations

include,

and

technically

belong

also to

shorter

movements,

and

need

not

constantly be repea-

ted,

the

less

so,

when

their

Musical

substance

is

not

in proportion

to

their extended

form.

For

Fart

V

the

more

difficult Studies

from

Op.

299

(of

which

only

two

were

left out)

with

three

Supplementary

Tines from

Op

740

have

7

Denominated by

thf author

,Ne>f

School q\

Velotitjr

8/21/2019 Czerny-Germer Vol. I y II

http://slidepdf.com/reader/full/czerny-germer-vol-i-y-ii 8/272

VI

Vorwort.

—

Preface.

A

Is

V.

Theil

sind

die

schwicrigeren

Etiidcn

aus Op f99

(von denen

nur

2

keine

Aufnahme

fanden)

mil

drei

ergftnrenden

aus

OpiA

740

zu

12

EiiitUn

fur

die

obtre

Mittelstufe

vereinigt

worden.

Der

VI

Thtil

bictet

in

seinen

j6

Octwen-

Studtcn

eine

wichtige

Specialilit

der

modemen

Technik

ftlr

die

MitUl-

und

Obtrsiufc

dar,

deren

Material

aus

Opus

821,

335,

740

und

834

ent-

nommen

vnirde, da

Czcrny

selbst

derselben

eigenthUmlicherweise

kein

besonderes

Werk

gewidmet

hat.

Uru

diesclbe

mOglichst

vidstittg

zu

gestalten,

haben

mehrere Nummern

aus

Opus

821

Stitnmverdopflungen

erfahren,

wodurch

mil

Leichtigkeit

die noch

fehlenden

Octaven-Spielarten

herzustellen

waren,

ohne

Czerny's

Musik

anzutasten.

Der

Vn.

Iheil

bringt

30

Etildin

ftir

die angehende Obirstuft,

welche dem

OpuS

335

>»SchuIe

des

Legato

und

Staccato**)

entstammen

und die

ein

vorzilgliches

Supplement

lu

J.

B.

Cramer's

Etuden,

des

vor-

herrschenden

Lehrstoffs dieser

Stufe,

bilden

und

als

solches viel

benutzt

zu werden

pflegcn.

Den VIII

Thtil bilden

20

Etuden

ftir die Obir

stufe,

von

denen

19

der

»Kunst

der

Fingerfertigkeit*

entstamroen

und

rait der

beruhmten

ToccaU

(Opus

92),

als

des

wtlrdigsten

Abschlusses,

zu-

saramengestellt

wurden.

Dass diese Studien als

ein

anerkanntes

Pendant

zu

M.

Qementi's

^Gradus

ad

Pam

assume

angesehen

werden

und

schon

seitlier

vielfach als solches

beira

Unterricht

ver-

wendet wurden,

ist

eine bekannte

Thatsache.

Soviel

Uber

Auswahl

und

Aoordnung

d«s

Stofifs

vorliegender

Neuausgabe

Des

Weitercn

set

nun berichtet iiber

die

Ergebnisse der Jaxt-

rtvision

and

die

dadurch b^ingte

Gestaltung

des

Fmgersatus, der

7

extgliederung

und

seiner

DYfUitnik.

Bei der Textrevision haben

zwar

auch

neuere

Ausgaben mit

vorgelegen zur

Vergleichung

allein

fOr

die

Feststellung

einer authentischen

correcten

Lesart

konnten

nur

die

Or^inai-

Aitsgaben raassgebend

setn,

abgesehen

natQrlich

von

einer

Menge

offenbarer

Druckfehler,

die

auch

theilweiae

schon in

jenen neueren

Ausgaben

berichtigt sind.

Stellen, die

sich als offenkundige

FlUchtigkeiten

des

Autors kennzeichnen und

die

theils aus anahgen

FAlUn,

theiis

nach

den

Regeln

des rtincn Sat%a leicht

richtig

gestellt

werden

konnten, smd stets am

Fusse

der Seite

in

frUherer

Letart angegeben.

Die vielfach

summarisch auftretenden

Vtr-

balkungen

der

Nottnschrift Czerny's, die

die

rythmische Einthcilung

sehr erschweren,

sind

Uberall

durch

untefbrochene

Balken

als

Doppel-

Oder dreifache

Triolen bcz

als

aX*/a»

etc,

iiber-

sichtlicher

dargestellt worden.

Oefters

sind

auch bei Staccato-Stellen,

in

denen

Czerny

die Eintelnoten geuhwUmi

und

dadurch

wiederum

die Uebersicht

erschwert

hat,

diese

statt

dessen

durch

Balken verbunden

worden.

Auch

ist

die von

Czcrny

wohl nur

aus

been

collected as

„Ttwlvc

Sadies

for

the

upper

middle

grade*^

Part

VI

presents in

its Thirty six

Octave

Studies

an

important

speciality of modern

Tech-

nique

for the

middle and

upper

grade,

the

material

of

which

has been

taken

from

Op 821.

33?.

740

and

834,

as

Czerny

himself,

very

strangely,

has

not

dedicated

a

special

work

to

this.

In

order

to

form

the

same,

whtre possible,

several

numbers

from

Op.

8«i

have had

their

notes

doubled,

by

which,

the

still

missing

Marks

of

Octave playing

were easily

restored

without

touching

Czerny's

music.

Part

VII

presents

„

Iwenty Studies

for

ike

tietnentary

upper

grade ,

which

originate

from

Op.

335

'School of Legato and

Staccato*),

and

which

form

and

are

used

as

an

excellent

Supple-

meni

to

J.

B.

Cramer's

Etudes,

supplying

supe-

rior

instructive

Substance

to

this

grade.

Purt

VIII

consists of:

—

Twenty

Studies

for

the

upper

grade,

of

which

Nineteen are

taken

from

the

'>Art

of

developing

the

fingers«

(Fingerfertigkeit) and

which

with

the

celebrated

Toccata

Op.

92

bring this

section

to

a

most

worthy

conclusion.

That these

Studies

are

looked

upon

as

an

acknowledged

Companion

to

M.

dementi's

»Gradu5

ad

Parnassumc

and have

until

now been

mostly

used as

such

is

a weliknown fact.

So much

for

the

Selection,

and Classifica-

tion of

the

material of the

present New

Edition

The

result

of

the

revision

of

the music

texts

has

still

to

be

mentioned and

from the

same

the

stipulated

form

of the Fingering,

Text

structure

and

its

Oynamics It

is true, that

in

revising

the

text

newer

editions

have

served

for

comparison,

but

the

original editions only

could be regarded

as

an

assistance

in

compiling

an

authentic

and

correct

version, of coarse overlooking a

number

of

palpable

misprints,

which

had partly

been

corrected in

those

later

editions.

Passages

which

show

notorious

Carelessness on

the

part of

the

author and

which

partly from

Analogical

cases

or

partly in

accordance with

the

rules of

pure

thesis

might

easily

have

been corrected,

hare

always

been

given

at

the bottom

of

the

pages

in

the

old

version.

The

way Czerny

writes

his

ties

to

the 7U>te$

and

which

spontaneously

produce

themselves

in

his

compositions,

and render

very

difficult

the

rythmic

divisions, have

everywhere

been

repre-

sented

by

broken

ties

like double

or

threefold

triplets and

marked

as

aX*/«t

ds. etc

Very

often also

Czerny

has

in

the

Staccato

passages

written

tails to the $ingU

notes^

instead

of bin-

ding

these

by

ties, which

has

again made

their

survey more

difficult

Also

Czerny's,

perhaps

for Convenience

sake

wrongly,

adopted

representation

of notes of

different

value,

writing

0'

fffff

instead

of

\ f f f

f

^

has

always been

admitted

as

correct.

Tinu marked

inacurately,

for

instance

*/«

th

*)

Vo«

Aulor

aU

,txs**

Fortiateiuif

d«r

Sctiuie

der

*)

Denominated

by

the

author

.Kirst

Suppieraent

S«bo«l

of

Velocity*

8/21/2019 Czerny-Germer Vol. I y II

http://slidepdf.com/reader/full/czerny-germer-vol-i-y-ii 9/272

 Vorwort.

—

Preface,

VII

Bequeralichkeit

angewendete

faUche Dantellung

versckiedtmuertkiger

Stimmcn,

wobei

er

z.

B.

P\ffjff

slatt

^]^/fff

schreibt,

stets

cor-

rect

jrefitaltet

worden,

tngenau beuichnetc

Takiarten,

z.

B.

'/*

Takt

statt

des

*/8

Takts, oder ^'/a

Takt

statt

des

aX*/e

Takts,

auch

B

statt

^

sind

richtig

ge-

stellt.

Dabei

ergab

sich

in

No. 6 des

V.

Theils

der

interessante

Fall,

dass

nach erfolgter

Urn*

wandlung

des

 /•

Takts in

den '/s

Takt sich

karz vor

dem

Schlusse

ein,

der musikalischen

Idee

nach,

voilstHndig

uberfiiissi%er

Takt ergab,

der

vrohl

nur dadurch

hineingekooimen,

dass

Czeroy

die

Passage auf erster

Taktzeit

ab-

schliessen

wollte.

Die vom

Autor

den

Tempouberachriften

beigeftlgten Metronom-Bezeichnungen sind

bei-

behalten.

Daraus

ist

jedoch

nicht

zu

folgem,

dass

der

Herausgeber

sie

als

roassgebend

fUr's

Studiren

erachtet.

Im

Gegentheil

Denn

sie

sind

nach

Ansicht

der

competentesten

Musik-

ptldagogen

derartig schnell

bemessen

word«n,

dass

selbst >gute SchUler<

immer noch

to

—

75%

hinter

dem unerbittiiohen Metronona

zurtick-

bleiben

werden,

und es ist

nicht

zu

l&ugnen,

dass

dies

in

vielen Fallen der

in

den Ettlden

pulsirenden Musik nur zum Vortheil gereicht.

Dagegen

sind

die den

Ettiden

in

Opus

335,

740

und

834

beigegebenen

Ueberschrifien in

Wegfall

gebracht worden, weil sie in

einer

wenig

prilcisen

Fassung

die

dem Schuler gestellte

Aufgabc selten

richtig

bezeichncten.

Dies zu

thun,

ist

Sache

der

miindlichen

Unterweisung

des

Lehrers

Dasselbe

gilt

auch

von den Ueb<rschri/Um

der Vierzifrungen

in

Opus

355.

Hier

wurde

es

sogar

raehrfach

nothig. die

falschen

termini

technid

Czerny's, die

zweifeilos mit verschuidet,

dass

in

Sachen

der

Musikalischen

Ornamentik

bis

vor

nicht

langer

Zeit

die

grosstf

Unklarheit

in

den

Kopfen

Vieier

herrschte, durch die

Hchtigen zu ersetzen.

—

Dem

Pingersatz ist

bei

der

Revision

be-

sondere Sor^alt

gewidmet worden.

Der

ur-

sprUngliche

htt an mancherlei MSngeln:

a)

£r

bellistigte

das

Auge

vielfach

mit

Ueberfimsigem

oder

SelbstversUkndliihem

und

er-

srhwerte

dadurch

das

Lescn;

b)

sehener

gab

er tu

wenig, wie

z.

B.

bei

wiederhoiten

Stellen

und

in

dera

Part

der

lin-

ken

Hand;

c)

unpraktisek

war

der

ftlr

Chromatik,

ge-

brochene Terzen-,

Quarten-

und

Octaveng^nge

und

manches andere

und

d)

inconsequent

der

fUr versetzte

LSuferfiguren

und

Arpeggioformen

bei

Handlagen mit

unter-

mischten

Obertasten

angewandle.

Da nun die

Grundsatze,

nach welchen

Czerny

in

sokhen Fallen

verfahren,

und die er

in

seiner

>Schule,

Opus

500^

auseinandersetzt

und

zu

rootiviren

sucht,

ftlr die

heutige

fort-

geschrittene

Klaviertechnik

nicht

mehr

mass-

gebend

sind

und

rationcUeren

Platz gemacht

aben, so

war es

noihwendig, diese

letzter^n

in

derartigen Fallen

zur Geltung zu

bringen.

in

Bezug

auf

die

GUederung des

musHuUischen

time

instead of

%

th time,

or

*'/•

th time instead

of

2

X

^

th

time,

also

B

instead of

^,

has

been

corrected. Besides this, Nr.

6

of

Part

V

presen-

ted the

interesting

fact

that after the change

of

Tempo h-om

 /sth

to

'/sth,

a

completely (and

to*

musical ideas)

superfluous

bar

was

inserted

nearly

at

the

end,

which

Czerny has

probably

introduced

in

order

to

bring

the

passage

to

a

close on the i

st beat of

the bar.

The

metronome marks

as

put

down

by the

author

have

been

retained.

From

this

however

it

does

not

follow

that

for study the

Editor

wishes them to

be followed.

On

the

contrary

For,

according

to

the opmion

of the

most

eminent

musical authorities,

they

represent such

quick

time, that even,

>clever

pupils<

remain

from

20 to

25%

behind the inexorable

metro-

nome, and

it

cannot be denied

that

this in many

cases

is of

great advantage

in

study.

Again

the

Headings of

the

Studies

in

Op.

335>

740

and 834 have been

cancelled,

because

Uiey

do

not

indicate

k  ^tx^

precise

conception

to

the

pupil,

and seldom correctly,

the

task

which is

given.

This is

left to

be done

ver-

bally

by

the

master who

gives

the

instruction.

This last

also

concerns the

headings

of

the

Omamtniations

in

Op.

355.

Here

it

was

even

very

often

necessary,

to replace

by

proper ones

Czerny's

wrongly

used technical terms, which no

doubt were

partly

the

cause that not

long

since

the

greatest obscurity

prevailed

on Musical

Ornamentation,

in

many

minds.

The

fltigering

has

been revised with

special

care

as

the

original suffered by

many

defects:

A)

It

tired

the

eye

very often with

that

which

was

superfluous

and

self-evident

and

made

the

reading

more

difficult;

B)

rarely

there was

too

little,

like

for

in-

stance

by

repeated

passages

and

in

the left

hand part;

C)

unpractical

was

the

one used for

Chro-

matique,

brokvn

thirds,

fourths and Octave

passages as

well

as

many

others, and

D)

useless

to

the

one

used

for

transposed

runs

and Arpeggio

forms,

where the

positions

of the hands

are

intermixed

with

the

upper

keys.

As

the

principles

on

which

Czerny

in

iuch

cases

has proceeded

and which he

has

tried

to

explain

in his

School

Op.

500,

are of no

more

influence

to

the advanced

pianoforte technique

of

the

present,

and

have

made

room

for

more

rational ones,

it was

necessary

in

such

cases to

reduce

these

to

their

proper

valuation.

As

regards the

structure

of

the

Musical

phrase

which

modern Musical science looks

up

to and

rightly

considers

as

the

main point

of

instructive

editions,

as

far

as

it

discloses to the

pupil

not

only

the

knowledge

of

constructive

form

in music,

but

also

the one of duly

observi?ig the

marks

of

expression in their

details, the

followmg

will

be

of

interest.

A)

Capital letters \y6\nX out in

all

the longer

Etudes, the Commencement of

the

phrases ten-

ding

to

their

periods .or divisions.

As at

these

points

generally

a

modification

or

Change

of

Motive

takes

place, they

are

at the same time

8/21/2019 Czerny-Germer Vol. I y II

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VJII

Vorwort.

—

Preface.

Satsdiuus,

jn

welcher

die

h«ut»ge

MvwikpAdagogik

mit

Rechl

den

Schwerpunkt

instructiver

Aus-

gaben

erblicVt.

insofcrn

dieseibe

dem

SchUler

nichr

nur

die

Erkenntnisi

dcr

fffrmaUn

Gestal-

tyng

der

Musik,

sondern

auch

die des

Vor

tragi

ihrcr

EimelhtUen

crschliesrt, sei

Folgendes

bemerkt

a)

Groat

Buchstabtn

kennzcichn«n

in

alien

umfMnglicberen

Eiuden

den

Anfang

der

Sdtu

bcrw.

der

Periodtn

oder

IkciU.

Da

an

diesen

Punkien

meist em

Wechael

oder

eine

Verlnde-

rung

des

Motivs

eintrilt,

so <ind

sie zugleich

ein

Fingerzeig

dafar,

was beiro

analytischen

Studium

im

Zusammenhange

zu

Uben

ist

b)

Innerhalb

der

einzelnen Sfttze,

Perioden

Oder

Theile ist

der

Inhalt

nach

Motivtn

oder

Abtchniuen

gegliedert

(phrasirt)

und

zwar, falls

durchgiingig

legato zu

spielen

ist,

durch

Litgaio-

bogtn,

die.

wenn ke»n Absetzen

zwischen

ihnen

stattfinden

soil, mit ihrtn

Endpunkt*n

verbunden

find.

Trut

jedoch

legato

und

Staccato

untef-

miBcht

darin

auf, so sind die

Grenzen

durch

Inttr

punktion

(Kommata) bezeichnet,

ebenso

auch

bei

remera

Staccato,

bci staccirten 8tel-

oder

i6iel-Figuren

bisweiien

auch durch

Irtmmng

der

Grtninoten vcm

Balken.

Aus der

richtigen Gliederung

der

Theile

ergiebt 'Sich

dcren

Dynamik

von

selbtt.

Denn

da

das

Charakteristische

dieser nousikaiischen

Elementarformen

darin

besteht,

dass jede

nur

eintn dfnamischtn

Sckwer- oder Hbhtpunkt

hat,

nach dem

zu

die

Hebung, von

dem

weg

ab«r

die

Senkung

der

Tonsiilrke

stattfindet,

so war

damit

die

Directive

sowohl

fUr

die

Accentuation

wie

for das Crescendo

und

Diminuendc

innerhalb

derselben

gegeben,

und es konnte

hiernach

ei;>e

detatlUrttr{

Gestaltung

der

Dfnamik

erfolgen.

als

sie

durch

Czerny,

der oft in

ganzen

Theilen

und Etuden nur ein

summariaches

/

oder

ff

ver-

iangt, vorgeschrieben

war.

Dass

dies Qbngens

ganz

im

Sinnc

des Autors

ist

und

von

ihm

so

oder

doch

ihnlich

fUr eine

tadellose

AusfUhning

beansprucht

worden, geht

aus dem

Vorworte

zu

Opus

299

hervor,

worm er

verlangt:

^Beobath'

tung

aiUr

ubrigen Regeln

des

scMnen und

riehr

tigen

Vor

tragi .

Die

Veiwendung

des

Ddmpferptdals

zu

den

verschiedenartigsten

Wirkangen

liat Czemy

cniweder

nicht

^ekannt,

oder sie,

wie

sein

Zeitgenosse

N

Hummel,

nicht gehorig

gewllrdigt,

dcnn

er giebt selten

Vorschnften

dafQr,

and

alsdann

sehr

emseitige.

Da

aber effecvolier

Pedalgebrauch

einen

wesentlichen

Factor

des

heutigen

Klavierspiels

bildet,

(also

vom

Schbler

zu

erkrnen

ist).

so

hat der

Herausgeber

den

Pedal

vorschriften grosse

SOrgfalt

gewidmet

So

roOge

denn

diese

Neuausgabe vdn

C

Czerny'j

Etuden

hinausziehcn

in

die

klavier-

sp«elende

Welt

und

zu

deren

alten

Freundeo

zahlreiche

neue

werben in

ihrer verjttngten

Gestali;

die

scgcnireichsten

Fotgen

wcrden

nicht

ausbleiben

Dresden.

Neti)ahr

1888.

Heinrich

Germer.

a hint to

that,

which

in the

analytical

Study

has

to

be

practised

connectively.

B)

Within

the single phrases, periods or

divisions, the

contents

have

to

be

formed

(phrased)

accordmg

to Afotives

or

Sections, and

this,

in

case »iegato<

is

played

throughout,

by

Legato

slurs,

which, if

no

Staccato should

oc

cur

between

them,

they

are united by

their ends.

If

however

Legato and

Staccato

are mixed,

their

limits

are

marked by

signs

of

punctuation

(commas),

the same as

with

the

pure

Staccato,

with

detached

eighth or

sixteenth

notes

also

sometimes by

separating

the

last

note

from

the tie.

From the proper structure

of

the

phrases

their

Dynamics have necessarily

to

follow.

For

as the

Characteristic

ot

these Musical Elemen-

tary

forms

consists of

this,

that

each

has

only

one dynamical main

point

according to

which

the

increase,

or

on

the other

hand

the

decrease

of

the

tone power

takes place,

the directions

for

placing

the

accent

as

well

as

the

Crescendo

and

Diminuendo was

contained

in

the

same,

and

aher

this,

a

detailed formation

of the

dynamics

was made pouible, as prescribed

by

Czemy,

who

often in

whole passages

and Studies

only

simply

demands F or K

F.

Besides that this

is

entirely

in

accordance with

the author's

meaninE

in

order

to

produce

a

faultless

rendering,

and

has

been

requested

by

him in this way,'

may

be

seen

from

the preface

to

his

Op.

299,

where

he

desires

^Due

observation

of

all

rules

of

beau-

tiful

and

perfect

execution*'

Of

the use of the

soft

pedal

for

the

produc-

tion

of

diflFercnt

effects

either

Czemy

has

not

known

it or

like

his

contemporary

N.

Hummel

has not sufficiently

appreciated

it, because'

he

prescribes it

very

rarely

and

if

he does

it is

only very

sparingly.

As however

an

effective

use of

the pedals

makes

a

true

artist

in

modem

pianoforte playing,

and has to be

acquired

by

the

pupil, the

Editor

has

devoted

great

care

to

the pedal directions.

In

conclusion

the

Editor

hopes

that

in

g;iving to

the

Musical

world

this

New

Edition

of Ciemy's Studies,

he

will

add

to

their

old

friends many

of

the

younger School

of Piano-

forte students

and

feels sure that nothing but

results

of

a

most gratifying and

happy

nature

will

Dresden,

New-

Year

1888

Heinrich

Germer.

8/21/2019 Czerny-Germer Vol. I y II

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I.

TEIL.

50

kleine

Etiiden,

ausgewahlt

aus

Opus

261,831,

599 und

139.

Allegro.

PART

I.

50

little

Studies,

selected from

Opus

261, 821,

599

and

139.

C.

Czerny.

^

imimug

'^imimu^

5

3

Wilhelm

Hansen,

Musik-Verlag,

Leipzig

und

Kopenhagen.

Edited

by

H.W. Nicholl.

W.

H.

9918*

Copyright,

1888,by

Edw. Schuberth

<&

C9

Copyright,

1916,by

H.W.

Nicholl.

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HEINRI

CH GERMER

NEW

YORK:

EDWARD

SCHUBERTH

&

CO.,

No.iiE.22dSt

Publishers

and

Importers

H. GERMER'S

EDITIONS.

Considering

a

composition's

development

from the

motive,

or

germ

to

the

theme,

from

the

theme

to

the

phrase,

and

from

united

phrases

of different

length

and

vsu-ied

musical

imports

to its

total structure,

we

must

consider

the

phrase as

the most important

factor

to

contemplate

in

its rendition.

Therefore

to

each phrase

must

be given

individua

1 attention

as

to

the

amount

of

tone volume

to be distributed

throughout

its

length, and

at

what

point

the

primary

accent is to

be

placed.

But

at

the

same time,

points where

secondary

accents

occur must

not be overlooked,

nor

the

legitimate

use

of

legato,

stacato.

etc.. be slighted.

Right

here

two

queries

may be inserted,

namely:

 How

could

a

per-

former,

although

equipped

with natural talent

of

a

high

order,

reinforced

by

superior

musical

culture,

know

positively

whether or

not

he

or

she

is carrjring

out the

compwsers*

intentions

to

the

letter?

and

also

—

 Why

should they

do

this

if

thereby

they

obliterate their own

individuality?

Broadly

considered,

individuality means:

a

separate

existence:

a

dis-

tinctive

character; that is

to

say—

one

distinguishable from

all others.

Tntely

put then, we

all

possess individuality

—

but we

do

not

all

possess

prortounced

or

great inJtr>idualit}f.

Hence

when

a

performer,

whose

individuality

is weak or

not

particularly

strong,

and

who

attempts to

render,

let

us say,

a

great work

by

Beethoven,

he

usually

tampers with the

traditional

and ofiFends

the aesthetic sense

of the

musically

elect.

In

citing

Beethoven,

the

same

would

hold

good mth

all

other

great

composers.

It

becomes

obvious

then, that

in

an instructive

edition

every

phrase

with its

accompanying

primary

and

secondary

dynamic signs,

as

well

as

the

amount

of

tone-volume

applicable

to

each,

should

be

indicated

so carefully

in

every composition

worthy

of serious

consideration that

the

performer,

teacher,

and

particularly

the student, need

not

 grope

in the dark

as to its

best

rendition.

This

should be

ordinarily

the

task

of

the composer,

but composers

as

a

rule,

seldom

take the

trouble

to

indicate exhaustively

how

they

desire

their

compositions

to

be

interpreted.

They seem

to

take

it

for

granted

that their

message

will be

understood without

such

assistant elucidation.

In

this

they

err

in practical

judgment

I

For

while genius

or

superior

talent

may

be

able to

dispense with

such

signs,

the

average

student

needs

them,

indeed

needs

them

Oery

much

I

Without

desiring

to

make propaganda for any one

individual,

it appears

that

HEINRICH

GERMER.

the great

German

pedagogue,

whose

revisions

of

ancient and

modem

masterworks

are

now

known

and used

the

world

over,

seems

to

have

solved the

problem

most

simply,

how piano works

should

appear,

wherein

all

explanatory expression signs

are present,

and

all super-

fluity is

avoided.

Natural

musical

expression

is

exemplified

by

his revisional

scheme,

each

phrase being

instantly

revealed to

the

eye together

with

a

simple yet com-

plete

equipment

of musical

dynamics.

A

plastic

picture, revealing the

architectural outlines

of

a

composition

through

phrasal

structures

is

a

great aid in

performance.

GERMER

gives

to

the eye this

picture

flawlessly

drawn.

As

he never loses

sight

of the

fact

that

if

a

sign

is

to

possess

meaning to

aid

the student,

it must be

placed

exactly)

where

it

belongs, and as

it is chiefly

to

the

student to whom

he

dedicates

his

life-work, we find

it

is simplicity itself

and

covers

the

ground

of

musical

expression

by

signs

sufficiently.

His work

cannot fail

to

appeal

to

even

hyper-critical

musicians.

8/21/2019 Czerny-Germer Vol. I y II

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Ausgewahlte

Selected

by

GAEL CZERITY.

Zu systematischem

Studiengebrauch

geordnet,

in Bezug

auf

Textdarstellung,

Fingersatz

und Vortragszeichen

kritisch

revidirt

und mit

einem

Vorwort versehen

Arranged

in

systematic

Order,

with critically

revised

Text,

Fingering,

Marks

of

Expression

and with Preface

by

HEINRICH GERMER.

ooooooo,

 >ooo

o

oo<

Die

Bearbeitung

ist

Eigenthum

des Verlegers

liir

alle Lander

KOPENHAGEN

UND

LEIPZIG

WILHELM

HANSEN,

MUSIK-F0RLA6

OSLO

NORSK

MUSIKF0RLA6

NEW-YORK. EDW.

5CHUBERTH

&

Co.

Copurloht

1888

by

Edward

Schuberth

&

Co. Copurlght

1916

bu

H.

W.

Nicholl.

STOCKHOLM

A.

B.

NORDISKA MUSIKFORLAGET

Printed in Denmark.

8/21/2019 Czerny-Germer Vol. I y II

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Inhalt.

Contents.

Band

I.

I

I.

Theil

:

50

kleine

Efiiden

fUr

die obere

'

Part.

1.

Elcmentarsfufc

 

aus Opus

261, 821.

599

und 159.

11. Theil: 32

Etuden fur die

untere Mittel-

Pari. II.

stufe

aus

Opus

829.

849, 335

und

636.

Vol.

I.

Fifty

small

Studies

for

the

upper

elementary

grade.

From

Op.

261,

821, 599 and

139.

Thirty two

Studies

for

the lower

middle

grade.

From

Op.

829,

849,

335

and 636.

Band

II.

III.

Theil:

Schule

dcr

Gelaufigkeit fUr die

Mittelstufe

30

EtUden

aus

Op.

299

und 834.

IV. Theil:

Special-EtUden

flir

die

Mittelstufe

a.

Polyrhythmische

Studien

aus Opus

159. 834,

555

und

299.

b.

Studien in der

musikalischen

Orna-

menlik

aus Opus

355

und

834.

Part. 111.

Part. IV.

Vol. II.

School

of Velocity

for

the

middle

grade.

Thirty Studies

from

Op.

299 and

834.

Special

Studies

for

the middle

grade.

A)

Polyrythmic

Studies from

Op. 139,

834,

335

and 299.

B)

Studies of

Ornamentation

from

Op.

355 and 854,

Band

III.

V.

Theil:

Schule

der

Gelaufigkeit

fUr die

obere

Mittelstufe

12

Etuden

aus Opus 299

und

740.

VI.

Theil :

36

Octaven-Studien fur die Mittel-

und Oberstufe

aus

Opus

821, 335,

740 und

834.

Band

IV.

VII. Theil:

Schule

des

Legato

und

Staccato

fUr die

angehende

Oberstufe

20 EtUden aus

Opus

555.

VIII. Theil:

Kunst

der

Fingerfertigkeit

fUr

die

Oberstufe

19

EtUden

aus

Opus 740 und die

Toccata

(Op.

92).

Vol. Ill,

Part.

V.

School

of

Velocity

for the

upper

middle

grade.

Twelve Studies from

Op.

299 and 740.

Part.

VI.

Thirty

six Octave

Studies for the

middle and

upper

grade.

From Op. 821,

335, 740

and 834.

Part. VII.

Part.

VIII.

Vol.

IV.

School of Legato

and

Staccato

for

the

advancing upper

grade.

Twenty

Studies

from Op.

335.

The

Art

of

developing

the

fingers

(Fingerfertigkeit)

for

the

upper

grade.

Nineteen

Studies

from

Op.

740 and

the

Toccata

(Op.

92).

<^%-^

8/21/2019 Czerny-Germer Vol. I y II

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lignende

at

udlawie

eiler ndleje

dette

V«;rii.

uden

Foriat'eta Tilladeltte.

III. THEIL.

30 Etiiden.

ausgewahli

aus

Opus

200

und

834.

MoUo allojrro.

(o

=

loi.)

PART

III.

30

studies,

>eieoted,

from

Opus

2i)0

and

834..

(j. Czevuy.

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Musik-

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Leipzii^

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1

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Vift ^',

Edited

ki/

H.ir

MckolL

Copiirtisht

1S3S

by

E'ln-.

Sehuhcrth

i*-

f :

Copyright

1916

byH.W NichoU.

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