dis is da english translation of da insanely in depth musical analysis of da czerny -
GENIUS
The fifty Shining Studies that compose the collection from the title it “the art to render the fingers agile” were publish to you with the showy number of work 740. Same Czerny was conscious of the fact that was amazing the amount of music from composed he. And it told with pride to John English She, in visit in its viennese house: "I will still be strange to You more when I say to you that I had ventotto years when I have published my first job, and that I have written in my life more music than whichever copista. Moreover I have composed more than thousand pieces that never have not been print to you, without never to employ a copista in order to prepare my editions ". It seems caught up those considerable ones turns out to you through a most efficient method of job. In every angle of its study writing desk was one, with one partitura incompiuta in work: one series of national songs to harmonize, the Sinfonie di Beethoven to reduce to four hands, one new edition of the Escapes of Bach, the composition of one Great Sinfonia. After to have finished a page of a partitura, it was moved to the successive bench. It was the mechanical job of its life of musician. Today, of such size of jobs, the wider spread - capillary indeed between the pianisti young people - smiles on to some collections of Studies, composed for didactic scopes us, and in that ineguagliate; the deepening of technical problems of the use of the keyboard not mask in fact with distractions rhetoricals - in some cases (Bertini, Pollens) in odore of hypocrisy… With a particular one risen of moral, the directed will of clarity and eloquio creates a system that sottintende alcunché of various from same himself, neither straight removes to a higher court himself to allude to you. Karl Czerny, been born in 1791 (incidently, the year of the dead women of Mozart), viennese, earned the life and the reputation teaching pianoforte. From he they had lessons Franz Liszt, whose infuence on the pianistica art has been deepest is in the compositivo field like in the executive tradition; Sigismond Thalberg, by far little important is like composer is like pianista, subsequently loaded with the burden of blasonare the “Neapolitan pianistica School” of its teacher print; and still Theodor Leschetizky, I add didatta. Czerny was a master whom, in didactic its furor, its distances from those who taken do not write (and know who would appreciate the reasonings of the platonic Fedro for diffidenza approximately value and effectiveness communicated you of the writing), and want to teach to who are only to they near, in the Indian forests of the gangetico Doab (upa-ni-sad: to be based near), like between the Pythagoreans of Crotone. Still today studied in the Conservatives and Musical Grammars school, work 740 is composed of Studies that, for how much shining, have not been think you for the concert. Less than less the collection in its complex has been thought for a public execution (but a sure structure the complex ce has it). But, to part the possession to base a public execution of music, the concert then and that one puts into effect has little them to that to see between they. Also of the first Studies of Liszt the public lay person (the scaligero, as an example) complained that she goes herself to theatre in order to amuse itself, in order not to study. Nevertheless without Study to being “vituous” it is not arrived, and the virtuosismo was from always ineludibile element of the musical happened one in theatre. That, if the ability from prestidigitatore of the virtuosismo costs hard work, badly it is only tolerated that some pieces go in turn are made to listen with theirs cartellino of the price (in terms of old complexity) still attacked. The fascination is also in feeling easy that that it is known difficult, in carrying with nature here a diadema precious: from Clement (mocked from Mozart) to Alkan (ammiratissimo from Chopin and Liszt), the hard work sottintesa to the digital ability them comes more and more however sfoggiata. Tasks to Paul Bird that lost the nights on that one its “perspective” (and Donatello to canzonarlo: “Eh, Paulo, cotesta your hard perspective…”), making then to write to George Vasari words of rampogna towards those who believe to only improve because the nights are macerated all and spremono the meningi (“and seem they that get tiredding itself continually, and for the night for the bureaus to always design, is the good one via and the true virtue. Neither s’ they notice that the talent wants to be tired when the will pregna of love in wants of making expresses sure divine things, and not when tired tired ET most sterile and sand banks things come generating, with I add its pain and with annoyance of who it strains it”). In the cases limit, the work of the composer would be the mere pretest that renders the ostensione of the result of the supreme one possible rises professional (“divine what”) of the interpreter. As to the beautiful times in which “very worked” it was the maximum I compliment that it could be turned to an artist! Sure, then they change mode and the ideas: someone that she saw Berlioz turbatissimo and sobbing during I listen of a Sinfonia di Beethoven, the churches "It seems to be upset, Monsieur. She would have to perhaps take a po’ of air " she felt herself to answer: perhaps “She believes I I have come here in order to amuse to me”. Not to case, when the side or little mystical espressività to music is denied more, Strawinsky defines in Our “Musician of race”. It polishes esteem, affectionate irony is lawful to read in the citation (from the Op Study. 740 n. 1, that it begins with the more didactic formula that esesta) with which Debussy gave the start to the first one of the own Studies. Authentically beautiful the n. 24, rimarcabili schubertiane atmospheres flutter on the n. 45, as also it is interesting to veemente listen to the sure source of lisztiana sonorità in the n. 50. In no contestabile way, ovunque, the professional quality; always draft of music of optimal invoice. To this we must add to the merits of one new ability of timbrica invention - not in the single sound, but of the formulas, than sometimes they form agglomerates fonici inscindibili to you (n. 47). Czerny assumes for discounted structure (ABA and tail) of the brano (between the exceptions: n. 12). Therefore all the interest, its and of the listener, has to concentrate itself on the pianistiche formulas. In The Op. 740 in particular very proporzionata the duration of the single Studies to the interest of the formula, often beautiful in himself, but immutata for the entire duration of the brano. To wanting to taste or to get rid the reasons of the mysterious fascination of ritratto we do not have simply to watch it for hours. Beyond a sure limit sfocia in the ipnosi, the minimalisno of little years ago, even then still in the zen. And the art to render the fingers agile is other thing from the maintenance of the motorcycle or the shooting with the arc. It would rather be necessary to guadarsi around, because our brain works with the comparisons - and the system of Czerny, as s’ it is said, is closed. One demands insomma the executor, in case wanted he to re-enter in viennesissimo the spirit (to the Hummel) of the Biedermeier di Czerny, unusual skill. They do not seem things adapted to practicing… In order not to scare who if it is about some to the study, in the preface of its edition del’ Op. 740, Emilio Riboli writes: “the metronomo has been maintained indicated from Czerny also convinced that it is impossible to realize it on the pianoforti modern”. Just for this scope (but it scares also large) the Lhevinn has recorded the n. 33 - unsurpassable realization, and optimal key for the reading of dimensions to which is usefully contemplabile, to the Praz, one collection of enamels or gradevolissime chinas. In this grace superficial and idealizzata there is a noon mystery, interesting how much its nocturnal correspondent. The sun of hills of Anacapri accieca; and the too much light does not leave to notice alcunché, analogous to most impenetrable of the darknesses. Falier had suggested a monstrous Minotauro to the Canova, because it was more realistic. Nevertheless also little been involved it has a its sense. Because to never make of I torment and of the “disease” a value in himself. Colorful characteristics; but unavoidable secondary derivations (ahimé, sovente), not roots, of the depth - than, for recorded, when it had turned out cumbersome Hugo von Hofmannsthal advised to hide… to the surface. Czerny writes music of linear structures, deprives of intriguing complexities, but not therefore less intelligent. As there is difference between the complex and the complicated one, therefore complex matter runs some between the dominion of one and the availability of intelligence resources. And if Musil is forced to explain is to us more types than stupidity, in corripondenza to several the types of intelligences, it is because we still human ours is obstinate to think itself to us more intelligent of the animals without having still clear the notion of intelligence. Our higher esteem is classified to the man from the fierce look and faithful, coherent with its will, and R-a.buon.mercato virtue is not for who is of good intelligence more than other to the erudizione management - but then defining the single coherence one. Therefore described, we would want that one of the collection operates 740 appeared one music “other”, nearly a different art - however an other language (Erik Satie: “I would advise not to read to high voice a text written up in one language ignota to the listener. It is not of good taste and oltretutto the effect is null”). Some composers are therefore many far ones from “the orthodox” repertorio to make to think, when they come you execute yourself in some knows them, to a vase of ceramics exposed right in the middle one collection of coins. In he knows it from concert (than it is not the only place where it is possible to make music), to part exceptions more or less in odore than experiment or curiosity, enters (as little music is right) relatively. Not music reservata, not that ethnic one. No judgment, in this: the criteria of “convenience” suggest respect for glorious traditions. The traditions… Every risen of dozzinale people the prank and if of Gloria. Nevertheless the progresses are not never made because, but only sometimes although it breaks off itself with a sure one passed - and also the breach is not the cause of the progress here, but of it is a mere effect. And Czerny, musician ligio to every rule (the rules that would have to be not already obeyed, but used), conservative interpreter in exemplary way, will pardon to us public executes, he that to the essoterici (Indian and Greek they were) s’ is not denied, with its migliaia of jobs…
1 Articulation of the fingers by hand quiet
2 The passage of the inch
3 Clarity in the speed
4 Light articulation in the light detached one
5 Eguaglianza in the double flown ones
6 Clarity in the agreements breaks to you
7 Exchange of the fingers on the same key
8 Light articulation of the left hand
9 Delicacy in knows to you and in it detaches to you
10 Exercise for third
11 Ability in alternating the fingers
12 Flexibility of the left hand
13 The maximum of the speed
14 Passages of agreements
15 Position lata in the strong
16 Alternamento of the fingers in the speed
17 Smaller scales to high velocity
18 To intercross the hands with nature and beautiful touch
19 Stiff positions with calm hand
20 Eighth double ones
21 Movement parallel of the hands
22 Exercise for the trillo
23 Light touch of the left hand
24 The inch on the black keys with absolutely calm hand
25 Agility and clarity
26 The maximum speed in the arpeggios
27 Independence of the fingers
28 Calm hand with great articulation of the fingers
29 Exercise for the small group
30 In order to obtain emergency in the touch
31 Exercise for the passage of the inch
32 Eguaglianza in raising the fingers
33 Light hand in knows you of eighth
34 Trilli of third
35 Exchange of the fingers on the same key
36 Lightness of the arm and agility of the fingers
37 Robustness and clarity
38 Uniform movement in raising the hands
39 Exercise for third
40 Light detached in the agreements
41 Fluency of the fingers of the left hand
42 Exercise for the small group double
43 Ability in the passage of the inch
44 The lighter touch with greatest mobility of the fingers
45 Melodia tied with melted agreements
46 Spigliatezza in the touch and the speed
47 Limpid touch in the melted agreements
48 Exercise for the trillo
49 Eighth with bravura
50 Spigliatezza in the touch and the speed
speed is mentioned alot
wikid 