Czerny-Germer Vol. I y II

V Ausgewahlte

Selected

Klayier-Ettdeii

PiaBoforte-StDilJ

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CARL Zu

by

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HEINRIGH GERMER. ,SSLSg:*>&^^^ 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 instrument, 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 disappeawith red it, there yet remains within his instruetive pianoforte works, (and among them especially forte

as

it

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 experience, they are through this stamped with an ernluring importance, which even, h.is preserved his studies),

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/ pianoforte technique, in a not too complicated and modulated style, melodious and graceful themedevelopements, 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 contained in Op. a99 »School of Velocity* Op. 335 »School of Legato* Op 35s >School of Ornamentation< and Op 740 »Art of developing the Fingers.*

But not all the numbers of these works possess equal value Many of them are entirely 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 misunderstood, and only increase waste paper but I

Vorwort. vermehren), sondern wird eine strenge Aurwahl dein in Ueberfulie verhandenen Material mUssen, su'dass nur wirklich Fordtrndts und zugleich musikalisch WcrthvolUs zur Aufnahme gelangt. Dieser ausgewahlte Lehrstoff

unter

treflfen

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 Studiensammiungen 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 stufenmassigetn Aufbau aus Opus 361, 831, 599 und 139 j(?

als

1.

kUine

Theii: 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.

—

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 Emige Nummern aus 355 und 834) auftreten. Opus 355 sind in gekUrzter Form dargeboten iJenn das Charakteristische der Einzelworden. 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

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 init

structive

manner

in

accordance

with

modern

requiremtnts.

According

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. to

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 difficulty and with entire advantage. Here however observe one thing: should be mastered at a moderate expense of time and trouble as well as with a careful observation of Tempo, they have to be preceded by a preparatory study of Technical ExerStudies

the nature of these Studies, having already given fluency (velocity) to the pupil. cices

As a systematic guide to this the Editor's Op. a8 ^Jechmque 0/ pianoforte playing" (C. F. Leede, Leipzig) is recommended. The School of Velocity «, out of its forty Studies, only twenty eight, according to their degree of difficulty can be assigned to the proper 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 i>

»Die Schule der Gelaufigkeitte$ and which spontaneously produce themselves in his compositions, and render very difficult the rythmic divisions, have everywhere been represented by broken ties like double or threefold Very triplets and marked as aX*/«t ds. etc often also Czerny has in the Staccato passages written tails to the $ingU notes^ instead of binding 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

\

ist

the

middle grade*^

value,

writing

0'

fffff

instead

of

has always been admitted as correct. f ff f ^

Tinu marked

inacurately,

for instance

*) Denominated by the author .Kirst Suppieraent S«bo«l of Velocity*

*/«

th

"Vorwort.

—

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 des */8 Takts, oder ^'/a Takt statt des aX*/e Takts, auch B statt ^ sind richtig gestellt. Dabei ergab sich in No. 6 des V. Theils der interessante Fall, dass nach erfolgter Urn* wandlung des "/• Takts in den '/s Takt sich statt

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 abschliessen wollte.

vom Autor den Tempouberachriften

Die

Metronom- Bezeichnungen sind beibehalten. 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 Musikptldagogen derartig schnell bemessen word«n, dass selbst >gute SchUler< immer noch to 75% hinter dem unerbittiiohen Metronona zurtickbleiben 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 Uebe Gestaltung der Dfnamik erfolgen. als sie durch Czerny, der oft in ganzen Theilen und Etuden nur ein summariaches / oder ff veriangt, vorgeschrieben war. Dass dies Qbngens ganz im Sinnc des Autors ist und von ihm so doch fUr oder ihnlich 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 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 Czerny'j Etuden hinausziehcn in die klaviersp«elende Welt und zu deren alten Freundeo detatlUrttr{

N

C

zahlreiche neue werben in ihrer verjttngten Gestali; die scgcnireichsten Fotgen wcrden nicht ausbleiben!

Dresden.

Neti)ahr 1888.

Heinrich Germer.

—

Preface.

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. mixed, If however Legato and Staccato are 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 For their Dynamics have necessarily to follow. as the Characteristic ot these Musical Elementary 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 beautiful

tion

and perfect execution*' Of the use of the soft pedal of

diflFercnt

effects

either

for the

Czemy

produchas not

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 Pianoforte students and feels sure that nothing but results of a most gratifying and happy nature

known

will

Dresden, New- Year 1888

Heinrich Germer.

I.

50

PART

TEIL.

kleine Etiiden,

ausgewahlt aus Opus 261,831, 599 und 139.

50

little

I.

Studies,

selected from Opus 261, 821, 599 and 139.

C. Czerny.

Allegro.

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Wilhelm Hansen, Musik-Verlag, Leipzig und Kopenhagen. W. H. 9918*

Edited by H.W. Nicholl. Copyright, 1888,by Edw. Schuberth



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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 superfluity is avoided. Natural musical expression is exemplified by his revisional scheme, each phrase being instantly revealed to the eye together with a simple yet complete 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.

—

—

—

Ausgewahlte

Selected

by

GAEL CZERITY. Zu systematischem

Arranged

Studiengebrauch geordnet, in

Bezug

systematic Order, with

auf Textdarstellung,

Fingersatz und Vortragszeichen kritisch revidirt

in

critically

revised Text,

Fingering, Marks of Expression

und mit einem Vorwort versehen

and with Preface

by

HEINRICH GERMER. ooooooo, ">ooo o oo<

Die Bearbeitung

ist

Eigenthum des Verlegers

KOPENHAGEN UND

liir

alle

Lander

LEIPZIG

WILHELM HANSEN, MUSIK-F0RLA6 STOCKHOLM NORDISKA MUSIKFORLAGET NEW-YORK. EDW. 5CHUBERTH & Co.

OSLO NORSK MUSIKF0RLA6

A. B.

Copurloht 1888 by Edward Schuberth & Co.

Copurlght 1916 bu H. W. Nicholl.

Printed

in

Denmark.

Contents.

Inhalt. Band I.

Theil

:

I.

aus Opus 261, 821. 599 und 11.

Theil:

Vol.

I

50 kleine Efiiden fUr die obere Elcmentarsfufc

'

Part.

1.

Pari.

II.

Part.

111.

Part.

IV.

!

159.

32 Etuden fur die untere

Mittel-

stufe

aus Opus

829. 849, 335

Band III.

Theil:

Schule

und

636.

Vol.

dcr Gelaufigkeit fUr die

Special-EtUden a.

b.

Studien

in

Opus 355 und

:

Theil:

Vol.

III.

middle 139,

from

Ill,

Part.

V.

School of Velocity for the upper middle grade. Twelve Studies from Op. 299 and 740.

36 Octaven-Studien fur die Mittelund Oberstufe aus Opus 821, 335, 740 und 834.

Part.

VI.

Thirty six Octave Studies for the middle and upper grade. From Op. 821, 335, 740 and 834.

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

Vol. IV.

IV.

Schule des Legato und Staccato angehende Oberstufe

20 EtUden aus Theil:

the

B) Studies of Ornamentation Op. 355 and 854,

834.

fUr die

VIII.

for

Schule der Gelaufigkeit fUr die obere Mittelstufe 12 Etuden aus Opus 299 und 740.

Band VII.

Studies

Special grade.

A) Polyrythmic Studies from Op. 834, 335 and 299.

der musikalischen Orna-

Band

VI. Theil

die Mittelstufe

Polyrhythmische Studien aus Opus 159. 834, 555 und 299. menlik aus

V. Theil:

flir

II.

School of Velocity for the middle grade. Thirty Studies from Op. 299 and 834.

30 EtUden aus Op. 299 und 834. IV. Theil:

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.

II.

Mittelstufe

I.

Fifty small Studies for the

Opus

555.

Kunst der Fingerfertigkeit fUr die Oberstufe 19 EtUden aus Opus 740 und die Toccata (Op.

grade. Nineteen

Studies from

the Toccata (Op. 92).

92).



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IV.THEIL

A

PART. *)

.

A

Polyi hjihmische Studio ii 7 Opus 139,834,335imd299.

ausgewiihlt aus

j

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PoljThylliiiiical Studies

selected from Opus 13i*,8:i4, 33r)

2 und 4 geeren 3 Noten.

m^m^

Allo^ro modorato.

1.

IV.

JS

and 4 (mains t

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and 299.

notes.

C. C'zerny. (J

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und griiiidlichen Anei^nuiiu dieser Muterie benutze man: H. ri-rmer, Op.29, Rhythinisohe Probleme (Leipzig *)iiir systematisoheu Vorhereitun^

*)

For

^/««?

^

-'ede, Pr. 3 :J). acquisition of this matter

r.F. Leede, Pr. 2 3l).*

usp-.

Edited hy lUy.yuhnll. W. H.UiUS'!

Coryrin-ht

1Si^8 hn E(h>\ SrhahrrtI, iy

Copyright 1916 by

H.W

C'.'

Nicholl.

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