Intermediate
Schule Des Virtuosen, Op.365
21:51
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Browse piano sheets by Carl Czerny on Zen Virtual Piano. Czerny’s lasting influence was in his piano studies, which were greatly esteemed by teachers for generations, among them the School of Velocity, the School of Virtuosity and the School of the Left Hand. After 1840 he devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of technique, designed to cover everything from the first lessons for children up to the needs of the most advanced virtuoso. These exacting graded sets were still being widely used in the early 21st century. Exercises written for beginners and virtuosos alike suggest technique laid out as a ladder with many rungs. His works include more than a thousand pieces, up to Op. 861, and not only piano music (études, nocturnes, sonatas, opera theme arrangements and variations) but also masses, choral music, symphonies, concertos, songs and string quartets. The majority of the pieces he called “serious music” remain in unpublished manuscript, held by Vienna’s Society for the Friends of Music, to which Czerny, a childless bachelor, willed his estate. That the pieces he called “serious music” mostly remain in manuscript, while his exercises were still widely used in the 21st century, puts his reputation and his own emphasis at some distance. He worked in a study with a series of desks, moving from one composition to the next to let the ink dry, while in another room copyists inserted stretches of pre-composed figuration and passage work from a central repository to fill in sections of his commercial music. A study of desks and a room of copyists suggest a composer who ran something closer to a workshop than a garret. Czerny was born in Vienna, the son of a father of Czech origin and a Moravian mother, and was a child prodigy who began playing piano at three and composing at seven. His first teacher was his father, who taught him mainly Bach, Haydn and Mozart. Beethoven, impressed with the ten-year-old, accepted him as a pupil, and Czerny remained under his tutelage until 1804 and sporadically thereafter; he was the first to report symptoms of Beethoven’s deafness, several years before the matter became public. In February 1812, at 21, he gave the Vienna premiere of the “Emperor” Concerto. A pupil of Beethoven at ten who premiered the “Emperor” Concerto in Vienna at 21 shows how quickly a gifted child could move into the centre of a musical circle. At fifteen he began a successful teaching career, with Franz Liszt among his pupils, and taught up to twelve lessons a day in the homes of Viennese nobility. A pupil of Beethoven who went on to teach Franz Liszt suggests a craft handed down through a chain of teachers.
Browse piano sheets by Carl Czerny on Zen Virtual Piano.
Czerny’s lasting influence was in his piano studies, which were greatly esteemed by teachers for generations, among them the School of Velocity, the School of Virtuosity and the School of the Left Hand. After 1840 he devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of technique, designed to cover everything from the first lessons for children up to the needs of the most advanced virtuoso. These exacting graded sets were still being widely used in the early 21st century. Exercises written for beginners and virtuosos alike suggest technique laid out as a ladder with many rungs.
His works include more than a thousand pieces, up to Op. 861, and not only piano music (études, nocturnes, sonatas, opera theme arrangements and variations) but also masses, choral music, symphonies, concertos, songs and string quartets. The majority of the pieces he called “serious music” remain in unpublished manuscript, held by Vienna’s Society for the Friends of Music, to which Czerny, a childless bachelor, willed his estate. That the pieces he called “serious music” mostly remain in manuscript, while his exercises were still widely used in the 21st century, puts his reputation and his own emphasis at some distance.
He worked in a study with a series of desks, moving from one composition to the next to let the ink dry, while in another room copyists inserted stretches of pre-composed figuration and passage work from a central repository to fill in sections of his commercial music. A study of desks and a room of copyists suggest a composer who ran something closer to a workshop than a garret.
Czerny was born in Vienna, the son of a father of Czech origin and a Moravian mother, and was a child prodigy who began playing piano at three and composing at seven. His first teacher was his father, who taught him mainly Bach, Haydn and Mozart. Beethoven, impressed with the ten-year-old, accepted him as a pupil, and Czerny remained under his tutelage until 1804 and sporadically thereafter; he was the first to report symptoms of Beethoven’s deafness, several years before the matter became public. In February 1812, at 21, he gave the Vienna premiere of the “Emperor” Concerto. A pupil of Beethoven at ten who premiered the “Emperor” Concerto in Vienna at 21 shows how quickly a gifted child could move into the centre of a musical circle. At fifteen he began a successful teaching career, with Franz Liszt among his pupils, and taught up to twelve lessons a day in the homes of Viennese nobility. A pupil of Beethoven who went on to teach Franz Liszt suggests a craft handed down through a chain of teachers.
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His piano studies, such as the School of Velocity, the School of Virtuosity and the School of the Left Hand, which were greatly esteemed by teachers for generations.
His first teacher was his father; Beethoven accepted him as a pupil when he was ten, and he remained under Beethoven’s tutelage until 1804 and sporadically thereafter.
Most of it remains in unpublished manuscript, held by Vienna’s Society for the Friends of Music, to which he willed his estate.