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1 50 STUDIES--Bk.

Cramer.

SCHIRMER'S OF

.jtki

Piano

LIBRARY

MUSICAL

CLASSICS

Vol. 828

i

J.B.CRAMER FiftyStudies For the Piano Book I

(BULOW)

1.40 TBORI

SCHIBJ^jil^

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SCHIRMER'S OF

LIBRARY

MUSICAL

CLASSICS

Baptiste

Jean

Cramer

Fifty Selected

Piano-Studies

Systematically Arranged, Expression-Marks and

Provided DR.

Fingering and

Critically Revised,

with

HANS

Instructive

R. PARSONS

DR.

Book Book

Revised

Book Book

One

1-12)

"

Complete) Library

Vol.

828

Library

VoL

829

"

Library Vol.

830

Library VoL

831

26-38)"

(Nos. 39-50)

(Complete)

G.

BOOKS Book

(Nos. 13-25)

III (Nos. IV

by BAKER

FOUR in

I (Nos. II

B. BOEKELMAN

THEODORE

IN

(Also

by

and

Newly

"

Library VoL

827

SCHIRMER, New

INC. York

Copyright, 1899, by G. Schirmer, Copyright

renewal

assigned, 1927, PriiiMd

by

BiJLOW

VON

Translations ALBERT

Notes

la "b"

U.

to G.

S. A.

Inc.

Schirmer,

Inc.

0'^5Sll. OS^lp

c

PREFACE

-J To

in detail,and with a mere mention of triad in an artistically correct manner, not to mention repetition what is universally Now, the practical recognizedand has often other surprisesfor the examiner. been said concerningthe inestimable value and enduring ill-success so frequentlyattendant upon the study of Cramer's FtiiJes is owing to c.iuses which it is the aim as a importanceof J. B. Cramer's pianoforte-studies, for the pianist's these is the noncultural means execution and delivery,of this edition to obviate. First among sUice^sioH. observance of a systematic Such an one not only unexcelled, but also with the excepwas (a means tion dementi's "Gradus carried out by the author. of Muzio ad Parnassum ", for not, at least consistently, which the the in the of most suitable succession serve one Moreover, as edition, the they English preparation differs from that in the German. The firstas yet but approximately equalledby any other collection numbers named of studies,)can not, of course, be the purpose of these edition,which laybefore us in our work, and, lines. If Fetis,the Romanic of the indeed, as represented musical authority by a revisional copy providedwith corrections in Cramer's them "eminemment own as classiques", (thiscopy, present,designates handwriting and if,of his German Franz Brendel and C. F. at that time at the head of colleagues, belongingto Mr. Spi'tzweg, the publishinghouse of Aibl, served as the standard for Weitzmann, the former, in his history of music, allsignsof time and expression), them "a foundation marking a new also epoch for all solid determiningexactly contains the sixteen studies supplementallyissued in of pianoforte-playstudy";and the latter,in his history ing,* Vienna (surreptitiously in Hamburg), which have been New York, 1895],numbers them [Engl,translation. but littledisseminated, and the chief purthe classics of pi.moforte-literature in respect comparatively among pose and form, these consonant alike to contents of which, evidently, was only to make up the opinionsof renowned ceremonial number of 100. the most their aestheticiansand theorists really but sideration non-conAccordingly, in the present edition was of which speaksto us not prompted solely state a fact,the great consequence For our domain. most loudlyin the universal dissemination and popularityby their character of a private attempt of the work here newly issued to the publicin a specifically to remedy this evil, no claim is l.iidto absolute approval, since individual considerations will instructive edition. Perhapsit will not be supera alwaysplay certain fluous role in instruction, if the teacher's conceptionof his task to say a few words in justification of the new edition (or elaboration), although only through careful be not bureaucratic. A second chief cause of the qualitative of the work itself will the purpose of the resultlessness of the studyof Cramer's EtuJes is to inspection editor become such be found in their The The clear. need of an same eration considperfectly over-great quantity. in the case of dementis "Gradus ad Parnassum" instructiveedition has been often felt already. Louis induced the Court-pianist to the King of Berger(born 1777, and dementi's pupilfrom 1804-10) has recently deemed it necessary to edit the firsttwelve studies with Prussia,Mr. Carl Tausig, to edit an anthologyof that for their with valuable directions additional directions for the fingering; the entire work work, accompanied which edited bv JuliusKnorr ; while, correct practice, afterward similarly is publishedin Berlin by Bahn was Mr. Louis Kohler has issued, as the open(Trautwein's),and the adoptionof which, on the part of quiterecently, ing all intelligent is to be recommended. book of his "Classical High School for Pianists", a pianoforte-teachers, With selection of thirty sically in correct tact, Mr. Tausighas eliminated the intrinwith studies, glosses part highly useful. It is idle critically to review the editions named, contrapuntal very valuable piecesin the severe and canons since the new here submitted originated of Clementi, one solelyin style;for the pianoforte-fugues for the Welltheir criticism. The old need has simplyremained unsatfar from offering of preparation isfied, a fitmeans Clavichord of and the attentive observer of the doings of the Bach, are more to hinder tempered likely to bad habits. For world can not escape the perceptionthe playerby leading pianoforte-playing Bach-playing'' demands studies which must be sought only of how seldom it is in proportion to their universal preliminary in other compositions dissemination himself with, that the cultural material proffered in by that master Cramer's studies is exhaustively the of pieces their while perhaps, anticipation utilized; by Handel.* In preparing well-considered and methodic emplovment must have for thisedition of Cramer, all piecesfor practice in which definitemechanical end was pursuedhave been its result the gain of a firm foundation no perfectly for virtuoso-discipline culled and disposed in the good sense, of. Perhapswe similarly may1 even nay, the gain of an alreadv lectual developeddegree of mechanical and intelcomparatively * As there was a once, in Florence and at other Italian universities, ripenesson the part of the player. But with what Dante faculty tlie first occupant of this cliairof instruction), (Boccaccio was want of thoroughness,with what unthinking routine of which confined their philological tiie labors simplyto both pupilsand teachers proceedthrough them! Either tliere might be in place, the enigma of tliismighty sphinx, in high so of the studyof the German lectual intela similar specialization the instruction consists,all told,in more less pedanor tically schools of music, giant in tones, Bach,wlio is comparableto a Dante only. To "ploughing through the firstbook, and perhaps and with finish is a task wliich the necessary play Bach beautifully the second also,which naturally is then, as a rule, more is only to be demanded from those piancerebral conditions abstracted ists who have attained completemastery over the material,and who also, quicklyfinished;or else the whole number, eightv-four, stumble for Beethoven's last pianono brokenly longer through in example, hurriedly are turn on ; quitted accomplishing really forte-son.atas. Whither attempts to assimilate the works of Bach from the of ten, the but slightpositive out which, in nine cases tend, is most alaimmgly specifically standpointof the pianoforte-chair result appears, that the plaverwho has reached No. 84, shown by Czerny'scelebrated edition of them, the transitorymerit o/ l"ut against uncritical use of which an on which we would not question, an being suddenlyagain confronted with No. i, shows o( himself incapable of striking the firstarpeggioedC major emphaticwarningmust be givenin the interestof a true understanding Bach. Moreover, with the above remark,it is not intended to say that * and inventions)may A copy of which, with iti.muscript the introduction to the playingof Ba^h (preludes revisions .mil additions,has been intrusted by the author to the presenttranslator for the preparation of an with th* not, accordingto individual data,begin even simultaneously version. studyof Cramer's Etudes. English

encomiums,

"

"

"

"

"

"

*

"

"

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YORK

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be

reproachedfor

and

having proceededradically enough,

not

having given

for

much

too

of tliatwhich

to

space

is homogeneous.

misused frequently

the

repentedrepresentationsTo

refer here to other

du pi.nniste". title,"indispensable of a subordinate specialties nature,

To this it might

purely mechanical

ends, would

for

the advantagefar. that practical experience demonstrates replied, of such readings. Precisely in connection with Finally, a third of our the necessityof acquiringby persever.mce any special justification

extend

this

prefacetoo

be

of

kind

expertness, the charm

mechanical

varietyin homogeneity the

on

hand, and on also, occasionally, as

one

of

tends to refresh and the other to promote

a

certain

which one directions

stimulate, and

doled

mine, deter-

counter-experiment, to exercises only, the After several homogeneous

and instruct.

in

playershould always revert, of them. Respectinga few

to the recapitulation,

the

"

greater difficulties

it may be remarked, that in a regularly succession of those collections of studies be employed for complete cultivation in "

graded to

are

J. 6. pianoforte-playing, Clementi.

Cramer

is the

forerunner

of

question comprises all the studies, from beginner to those of the virtuoso.

those

of

to

"

of

classical

the

eminent

master

foundation

at

a

system

and, by fingersindependent of that unevenness, of protractedgymnastic exercise, to enable them to about on the black keys in a manner move free, as light, and distinct as when white keys,and without secure, on whatsoever of white and stumbling in any combination the

black.

venturesome According to the perhaps somewhat opinion of the editor, that is the best fingeringwhich

mechanical permits the performer, without preparation, without previously taking pains to deliberate, to

and

as

of his

transpose

choose;

technique.

h. In contrast to the relative drynessof Schmitt, of Stephen use Heller, Op. 43. II. a. J. B. Cramer's studies.

of time, arrived

course

respects diametrically many opposed to As the chief mechanical in pianodifficulty forte-playi

means

Fklix

that

mention

an

has, in

now lay stress upon the unevenness, the local relations of black and white keys, of the field forming the scene of action for the performer's directed to rendering fingers.Our aim, therefore, is chiefly

"

worthy

in need

we

"

It is

consistency,were

resultingfrom

of the

", always to be prareparatoires tised keys which form the introduction

Mkndf.lssohn-Bartholdy, who was pianistalso, laid with this work

of

want

fingeringin

the former.

have After the first rudiments been mastered, for which the first part of the pianoforte-method of Lrbf.rtpurpose is most Stark to be recommended as. to the best of our substantial help,the followingare knowledge, the most in place: I. a. The studies of Ai.OYS Schmitt, Op. i6, together

Exercices the in all twelve the first book.

their

augmentation and alteration,in'order to help the aim. In performer to attain the purposed mechanical order to prevent misinterpretation, will elucidate we this apparently irreverent more particularly reproach His labors' fell on the boundaryagainst J. B. Cramer. line between the earlier and later periods of pianoforte-

of execution,

perhaps, it may not be indicated unwelcome the to to see pianoforte-teachers of mechanical course study which the undersigned has The course found approved in his practice teacher. as a

with

out

us

of application

the latter, keeping pace with the playing, of which increasing perfectionof the instrument, and the enhanced demands resultingfrom it upon the performer'spowers

in this connection,

ki

in

indeed, the

weightiest of all. It relates to the the fingers,which, being by the author with a sparingnessonly proportionate to

mechanical end is perhapsstillmore oped develsystematically in dementi's Gradus coupled,to be sure, with

which

mentioned

edition, and,

alike of

first

studies, of which

might be

instructive to

seems

for the

a

other

circumstance

to given pianoforte-piece

a a

modern

lateral be col-

any key he may of the genuine calibre must Beethoven's Op. 57, for example, as

virtuoso

able to perform convenientlyin F8 minor

a

in F minor. In such a case, as the construction of a suitable fingering, which must be based exclusivelyupon a correct renderingof the musical

b. St. Heller: C. Czerny: c.

Op. 46 and 47. phrase without respect either to the relations of black Daily Exercises; likewise his collection and white keys,or to those of longer and shorter fingers of studies, entitled the "Method of Legato and Staccato of all the rules of the (Die Schule des Legato und Staccato), which, strangely demands, of course, the overthrow "

"

"

enough, has

hitherto

not

received

that

notice

it

which

set

III. a. and

"Gradus

Clementi;

elaboration

by

h. Moscheles:

C.

Op.

ad

70, 24 in North

IV.

a.

Henselt:

Selected and as

Together with,

"Etudes-Poesies";

bier:

a

studies; than

work

a

in South

,

of continuation

of

between that

Selected pieces by Moscheles: Characteristic (Charakteristische Studien). Op. q=,.

V.

Chopin:

Op. 10 and 2s, with which may study of the single Preludes (of tendency)from his Op. 2"S. Liszt: Six Etudes after Paganini; three

the mechanical VI.

Etudes; dante. VII.

twelve

grand Etudes,

"d'execution

be a

St.

ies stud-

ciated asso-

special

Concerttranscen-

a.

Etudes;

Rubinstein: Selected Etudes and preludes. C. Alkan : Selections his twelve from grand for the most difficult than of part more any

the aforenamed.

entering upon stage 111.,Theodor of Octaves (in three parts)should be

Method and prosecutedwithout haste, but interruption. This extremely meritorious attacked

is, in

our

etc.); and "

and opinion,irreplaceable,

it most

just

as

it

rejected

free

and

ones;

"

Simultaneouslywith Kuli.ak's

to

fTit keys, together with five narrow and criterion, dementi's judged by which tional pianoforte-fuguesmight indeed have claimed an uncondithose of a J. S. Bach. over superiority died Now, J. B. Cramer (born 1771. in Mannheim; London) comprehended in a far greater degree i8s8, near than did his predecessor,representing a more important Clementi artistic individuality. Muzio (born 1772, at died 1852, in England) whose instruction,moreover, Rome; he enjoyed only in 1789-4. at Vienna, therefore as and the necessity of breakingwith that method; a boy tory in his studies are to be found frequent traces of reformadirections for the lingering especially, too. in respect of the thumb, justmei"* to the old limitation of the activity broad

seven

elevated

'

b. V.

legato, staccato,

rightof^thethumb

dispensable migration", which is inin polyphonic playingand for avoiding perplexities in transposition of course, as a matter ; declaring, him to be the best pianoforte-composer whose inspiration was continuallyguided by the external image of the the key-board, as twelve of the the octave on half-steps

Heller. c.

with

the hand, through varying relations of the white and black keys which into play; just as, among other come of things,it ignored the necessity of different applications of^touch (/.e., the fingersin the case of different modes

more

"classic ". the predicate studies from Op. 2 and Spreparatory to these, Haberkind

out

(selection

Tausig).

widely disseminated which deserves unconditionally b.

"

Parnassum

This old method appears, after all,to have of circumventingall diffithe chief purpose culties of endangering the preservationofii quiet position

old method.

merits.

"

also without

special work justlyclaims

"

U

But

tioned. he

feared

finally

obliged favor

of

has

gone

never

those

figures

essentially

method;

old

just

Hummel

(not, in

mean

we

according

as,

concertos

Mozart

induced

the

on

by

the

to

his

principles,

other

original,

the

practices

to

their

to

the

in

the

of

of

pyramid to

antiquating

said

the

have

"-ization

Hummel with

played

Hummel's

"-ung]

hummel

[Ver-"

fingering

own

be

sufficiently

as

the is

and

life found

be

to

labors in

that

of

to

of

the

renheit Fah-

a

mation infor-

composer,

Universal

Fetis: first

Universelle),

(Biographic

set

creative Cramer

Reaumur.

a

Concerning

should

)

metrono-

B.

resembled

have

more

entire

J.

of

It

and

an

com

may

propriate ap-

music.

of

to

during

the

to

that

to

Beethoven,

is

(who

also

"

"

respect

pieces

as

with

Maelzel

relation

normal

our

simply

defective

a

but

them,

happened

as

Schumann

after

period),

the

delivery

that, with

mized

practising

origmal,

excessively

appear

merely

hut

as

the

from

they

us

not

cases

in

taken

possible

recently

those

hand, their

not

be

to

is

upon

of

which,

signs,

exactly

that of

majority

in he

pianoforte

the

the

time

still,

lingering of

conceal

not

can

in

metronomic

copied

are

"

back,

future;

another

invention

the

we

the

to

already,

said

fast

ways. self him-

looked the

reference

been he

old

deemed

who of

force

to

as

which

appears

author

and

usage,

the

editor

intuitions

far

so

in

pieces

the

the

showing

into

With

attacks, out,

practical

relapses

edition,

suppress

one

earlier

of

his

of them

carrying

shows

this

to

the

boldness

the

tyranny

frequently

preparing

in

by

consistently

the

to

and

Now,

of

result

yielded

forthwith

frightened

if,

as

the

Biography

edition,

ed..

[2nd

1866

"

in

forth

his

method

for

without

pianoforte

the

facilitation

us

its

remarks

trouble

the

become

in

that,

and

in

by

the

has

care

further,

given in

with

writing

to

parallel the

left

the

hand

luxury

of

in

the

double

two

studies,

sary neces-

a

historic

form this

lower

all

"slurring";

establish

and

one

pensing dis-

of

in

1810

the

the

excellent last

the

repeated

of

than

more

mere

Breit-

with

?)

bngland

first

;

and

in

Musical is

book

of "

and studies

as

being

as

that

(18015-1810).

etc.

Hans Munich,

CoPVRKiMT,

G.

SCHIRMHK,

May,

1875.

","

1868.

the

Gazette

mentioned

editions,

collections

cerning con-

Cramer's

of

appeared

General

the

five

"quinquennium

of

thing

any

be

in in

we

relation

despite

able,

book

through

ed most

in

appeared

it

outset;

the

publication

(when to

Zeitung),

musikal.

already of

second

referring

on

exactness

would

which

ol

by

successors.

successive

the

The

Hiirtel

(Allgem.

having staff;

of

to

ment

performance,

parts,

dates

interest.

kopf

as

the

the

with

History

the

at

said

been

not

ascertain

to

(Uni-

Klavierspiels), to

there and

have

we

endeavors,

is

predecessors

his

to

referred

was

what

to

Unfortunately,

we

staff

upper for

upon of

movements

us

in

text

the hand

Cramer

.s7"j(("(Z/o-points.

following

upon

right

the

to

the

possible,

Weitzmann, subscribe

known

to

and

F.

fully

exactness, made

seemed

display

to

as

of

principle

all

taken

been

assigned

notes

revision

delivery,

more

sketchily

legii/o-s\urs

intelligible

immediately modern

rather

the

to

respect

of

with

out

carry

Similar

author.

Special

to

intentions

the

detail,

in

and

best

C.

in

mention,

to

signs

dynamic

the

of

point it

thought

have

in will

use,

The

etc.

des

(Geschichte

Music

of

Encyclopedia

Tonkunst),

der

Pianoforte-playing

spare

which,

practical

desire

we

study

work

our

with

Still,

self-evident.

ing,

in

connection

in

versal-Lexikon each

to

that

generalizing

of

place,

special

appended

Universal

Gassner's

1889];

whatsoever.

aggravation

or

instructive

The

ernizing mod-

any

"

von

Blilow.

had

Fifty

Pianoforte-

Selected

Cramer.

J. B. AUcgTO.

{0

=

Studies

l:ti.

J

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J

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(^l." Each

hand should first practise its part alnne, in tempo and with a uniform degree of loudness Then, by way of a test, try to play in faster tempo and instead of the previousy^y /'/a If the an even mezzo-ji/ano the first slightestindistinctness should be detected, resume method of practice. Both hands not must play together

slow

IjjJ J J J J J n^J nJJj ^

J J

rable

injury.

.

until the

mechanical

of execution

with

then be worked

difficulties

cresrfiidns

out

along the

and same

are

overcome.

The

study

Execute

must etc., dimhiiiendaXj i.e., before the lines;

learned to perform each must have play together, of the dynamic part alone with strict observance of expression. These marks rules apply, of course, to

The

chords

the

tones

f3.i The

teacher

must

Etudes. insist upon

a systfmnt ic arpegfigure occurs; and discourage with equal strictness the habit of breaking the chords wlicre no marked. The slightestlatitudeallowed in this arpeggiois explicitly will work irrepamatter,at the beginning of instruction,

giatioo,wherever

1764

this

thus:

follows

its

all these

10;

measure

chord as

hands

study of

the secondl

the

firstarpegyio'd

difference

and in

in

part

the different

combine.

measure

would

on

of these

in the exec^ition

depends, in part,on

1, is

manner

evident a

mode

from

two

different in which

necessity for the

The

result from

their

the lack

of execution

snccess/re

arpeggio'd time

-value,

the chord

-

arpeggio

of fullness

which

similar to that in

10; because, in the former case, the right-hand val part would merely double the left-hand part at an inter-

measure

of 3 octaves.

A11"'OTO.(J S8) =

ten.

^

s em

pre -tv

I n

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f/i'ni.

a

-4^

s

f 1. To

derive

benefit from

this number, practisint^

prime importance to firmlyset their keys. on 2. The

I7("

I

movement

of the

and

middle

retain

it is of

the outer

gers fin-

while melodic in

fingers in both hands,

even

and

ascending,

always bring out the natural figure: i.e.,aslight cresce/n/n in descending. slightdiminuendo

must light,

expression and

a

of the

6

Moderato

I7"4

13^.1 espressivo.^J^r

^

i

#

i

.,

apparent unimportanceof the part assignedto the the pupilinto imin this Etude, should not mislead that the rule for the separate practiceof each hand, aj^ining: g-ivenunder N9 1,may possiblybe dispensed with here. On 1. The

left hand

the

interest

the execution

1761

will tend to stimulate in this very case ther furin the number, and thus indirectly

contrary,its observance musical

i

(20)

5

,

-^

-

5

of the

right

hand.

Z. A

partial alteration

at first

glance

necessary the

here

may

seem

convenient

(as in various

other

an

essential

the hand.

condition

struck

the editor

caseSi) in order

emancipation for

which

"

"

to

as

give

possible opportunity for

neglectedfourth finger every

individual development.This is

fingering-

of the Cramer

a

correct

of the fourth finger manner

of holding

\-

L

Allegro con

i3.i) spirito.("z

"

I III

1

I

I

M_y

_'

I-"

'

UM

li

^^

=J

I7)"t

'Tj

10

AllegTo

mod"M'ato.

("

-

lu)

(22.)

^^M

^

^

i; /V^

'"/"'"-v^'^^^

1764

^^^

11

A would

of transposition

give

a

this Etude

still better

practicein transposing 176*

into G

test of its cannot

minor

.ind F minor,

pr.ictical utilitjibesides,

be too

early recommended

as

an

advantageous musical

influence

on

the

development. Compare

pupils ear the Preface.

and

eral gen-

13

Modf'i'iifo.'*i()( -

sempre

^"=^ fc^p" I "

/^

XIE 40t:

2=r

17 til

I

"'

"

If^nfo

S:

Ei^.rrr

(li both

In in

The

editor'sexperiencein teaching' kis convinced

him

of the

inal comparativeuselessness of this Etude in the origis transposedinto T"\". key of D major, and of its utility. the orio^inal small hands, key, a jcood piano-fing-erin^for lepato,could not be found for the transition uninterrupted

between (Z)

Too

the very first two

g'reatcare

cannot

measures.

be bestowed

on

firmlyholdintr

down

the thumb

while

to take the last eighthis turning over forefinger Sufficient attention is usuallynot paidto such "preliminary practice"to polyphonilajing.

note.

of the left hand

in

measures

9, 13 and 14,

the

ommended. transpositionof this Etude into C major is also recThe unavoidable changes in the fingeringmay be left to the teacher'sinsisrht.

(3) A

I7u" T/^

T

TDD

A

D

V

OW^Tl

fnili.i

i

14

Moderate

con

(J 132.) espressione. =

(10)

I7B4

15

(20)

This (1.)

Etude

is to be

for study in velocit}'

the

considered,first left hand

The

.

of

all,

as

This feelingshould be expressedby an (though not too pointed) of tones marking

modulations.

Of

course,

in multiplied;

repeated

accent

on

such accents must

measures

this lowest

1 and note

2,

is not

for

not

sive succes-

be

it

modes

necessarily un-

instance,a

allowable.

accent.

(8.) Separatepracticeby the right hand will prove no less beneficial for an and elegant execution. intelligent The served; apparentlycomplicatedfingering must be strictlyob-

tion accentua-

was

derived from

of

melodic

The (3.)

touch, and phrase. turn

in

meas.

29

consideration of the

a

of the

correct

may

be

"declamation"

playedin

two

various of the

ther: wa3's; ei-

In

measure 5, on the other hand, besides the first and third beats, the G and the Al;(on the second and fourth halfbeats respectively) to be slightly are sures marked, and in mea6 and 7 each beat; whereas, in meas. 23 and 31, the second beat, on of the unchanging harmony, ad1764

no

mits

for the leading time, to stimulate a feelingcare, at the same of the bass amid the endeavors after a smooth and even touch.

of

a

teacher should take

(hI'FJ'"3]j-Jror: the

the bass

because latter,

iji^U^^; the it

editor, however,prefers

maintains the rhythstrictly mical of the melodic succession integrity (syncopation of second beat);neither can the dissonance of aI" againstt' more

"

G

(second half of second

beat) be considered

offensive.

1("

Allegrobrilhmte. (mr\e,-i.

^

f-

"

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"

^

"

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te

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S ^

full

of the

be

profitfrom

fourth

that the number least

4

'3

T

and

of movements

the exercises

fifth

pendence for the inde-

fing'crSjWe

in each

measure

should

al

cases.

(3.)While

recommend at

doubled, thus:

(2.)Hands

of small

1,4,

facilitationsare 1764

12

dimin.

^

neglect

pursuing

the

modulatory

study

only stretchingcapacitywill find and 28 of specialdifficulty. issible

left to the teacher'sjudgment in individu-

minor

of this Etude,do

aims form

and

its melodic

not and

content.

will prove

exercises

the technical

of its classic

(4.)Transpositions

measures

^s

SeS te^

iSS

g

derive

(1.)To

2

ttza

in the in

of this Etude

very

into

practicalutilization

harmony.

CS

minor

and

and both techniccilly beneficial, of

elementary

B as quirements ac-

20

AllegTo lion

troppo.Jr7;j

fSJfrrffP^^ "S^rrrggp^f^gg^r^r ,

17b"

1. A

certain

being continuity

both

practicaland

necessary

in every special study, the editor has placed the presentand trill-exercise directly after the foregoing the next-following exercise

for the fourth

that

once,

a

new

Etude:

in the

and

fifth

fingers.It will

feature, of technical

be

seen

at

developmentappears

fingers are combined over, uniformlylightand agile touch. Morebe trained to contract swiftly after the weaker

present stronger in a the fingers must sudden extension; while the hand is to be so habituated to of motion, that the finger-movements .ipparquietplasticity entlyleave it quiteat rest. with

the

2. The

editor

stress laysparticular

on an exact ing fingerexperience with the power of the taught him, that a fingering like the

for the left hand. law

176H

of inertia has

His

usual

convenient

one:

the

following audible (or rather inaudible)

By

such

caused

an

the most

leading those

of the

"

in the Presto

of the Beethoven

N9 Z, meas.47, 48,53 and

our

modern

against case

more

because especially,

pianos

the aforesaid

when

54, which

sonata

Ci minor have to be

op.27, played^p/.-/-

similar fingerings for their require

///y, besides

execution:

result:

arc polyphoniieces, absurd misconceptions with regard to the as, for example, parts. ages in thirds

amateurish execution, in

the Vienna

renders law

of

the

correct

deeper key-fallof

it far mor"5 difficult to contend the than was probably inertia,

was pianoforte-action

employed. generally

22

Audaiite. f#\iij-) "7?

te 11.

sinnlc

^

^^

li^J^^ r;h

5Sa

M"

^5)

r.h

rj

=

f

^

1

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1

Vi

Cos.)

^^

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(10)

:" 4

/""'

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1764

1

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it"=^

r

r

r

r

rj 't

23

4

5

*

B

4

5

5

4

(40)

(1.) Instead the

of four

original,the

(2.) The

trill-notes to each

editor

beginning-of

deemed

it better

the trill on

to

in

requiresix.

("i.^ Exceptions in the left would

obscure

justifiedby the importance of the trills in this number; by

ment"

the

a

proper the

harmonic

re4

regard for the smoothness

suspension-likecharm

of the

after-beat;and

while gained thereby;

indistinctness is anywhere

induced.

no

(4.)In hand

are

found

hand, where

higher auxiliary, is

by

the

eighth-note,as

the

in

harmony

85, 27, 35 and 37,

measures

beginning

a

on

in its most

the

auxiliary

essential

ele

measures

13-15

a

critical

revision

of the

left-

it being of incompre part appeared indispensable,

hensible

-

bass.

meagreness

in the

original.

-

24

Lento.

"J-76) cnrifnbile

dolce

A

(11.)

Wh,r*fr^

J

i:

i

X

ttrrr.

1

^ ft

"J i^P

-J 3P

ten.

17"4

^

^

4^

^E

quanto pnssibile

26

i

"^m ^

m

^

.%mo

^

s

.-j^"'#'^*JJi^

At

^"i*"*^

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:4 "TV

^""//.

(20)

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1

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^"4 ^m

^ \

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Itf 15

1764

^

j-

rr

T 3

r '

^idJ'U^.

w

MfMi

MESZ 44

ten.

"

-i-i-

U^

27

J

'I-

i

1

4

-O-

f

J"J#J"^"""^

^0^d^d

d^s^^i^, ^m^d0-A_

P

^"?". ?7

As

to the preceding' Etude, the present in this place.All so-called appropriate in piano- playing-, "streng1h7 dependingon finger agility obtained by practice,the independenceof the fourth and fifth fingers,gained by means of the foregoing Etudes, be available in the shape of cleanness of attack, will now one

a

seemed

contrast to be

-

1764

possibile

playingthe highestpart. By writing out the trills in editor hopes to remedy that pitiable indecision of the leads in the final movements which frequently in

full,the

"

Beethoven

sonatas

movement

of

op.

53, 109, 111, and

op. 106, for

example

"

perverted practicalinterpretations.

to

also the

in the most

first

sidly

S C

E R

H I RM

'

classics

of Musica

STUDIES, AND

METHODS,

PIANO

S E R I K S

EXERCISES

TWO

A.

HENSELT,

C. H.

DORING, L. 651

Op.

24.

Exercises

L. 1035

Op.

25.

8 Octave

Studies

and

Staccato

in

tave-Playing. Oc-

1

Library

s

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Op.

2.

Characteristic

12

Concert-Studies.

(Jonas).

J

DUVERNOY, L. 316

School

Mechanism.

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Studies of "School 15

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preparatory L. 1292 L. 50

The

.Op.120. Op. 176.

Bk. Primaire.

Studies.

Elementary

25

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L. 1416

Op. Op.

50.

24

51.

24

L. 807 I..539 L. 323 L. 324 L. 339 L. 206 L. 326

Studies

Melodious Difficulty. First

Bk. L. 536

of

Steps Bk.

II.

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same:

The

Easiest

24 Octave Buds and Studies.

Studies.

117.

The

Lessons.

Op. Op. Op. Op.

I

HABERBIER,

A

HANDROCK,

X

Studies in Velocity.

Studies

First

Scales

on

Blossoms.

Arpeggios.

and

The

same:

Bk. II.

32.

The

same;

Bk.

Etudes. Bk.

I. III.

J. C. 20.

Op.

Selected Studies. (Deis).

15

141.

Op.

60.

20

L. 318 L. 425

Op. Op. Op. Op. Op.

151.

12

Easiest

157.

12

163.

16 The

Easy Studies. (Kla). Elementary Studies.

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L. 1082 L. 9.35 L. 936

(Ruthardt).

Poesies.

190. 242.

Op. 249. Op. 300. Op. 300.

59.

L. 553

Op.

C. L.

L. 925

The

Pianist

Virtuoso

in

60

Exercises.

Easiest Studies. Velocity without

Very

School Short of Octaves. Metodo Practice, Practical

The

I. e. Bk. (Oesterle). Bk.

sp.

Method. Bk.

same:

2.

I.

II.

10 Trill Studies.

tary Elemen-

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L. 481

School

L. 482

The

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The

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Bk.

III. Lower

Grade. Medium Grade.

T.

KULLAK,

Studies.

Mechanical

Scale-and-

Studies.

C.

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J.

Studies.

Studies in Continuous Chord ages.

A.

KRAUSE,

KUHNER,

Etudes-

53.

First

(Kla).

Op. 50.

L. 543

35

131.

L.

Melodious

12

E.

Op. Op.

HANON,

Bk.

School of Octave-Playing. Preliminary School.

L. 475

Op.

48.

The

L. 476

Op. 48.

The

same:

200

Short

Bk.

II: 7 Octave

I:

Studies.

Complete.

A T

A A

25

32.

L. 317

L. 321

without Octaves. Easy Studies and 24 Melodious Progressive Studies. Studies for School of Velocity.24 Short

130.

L. 299

A

e.

32.

Pianist.

Young

I.

Op. 82. Op. 83. Op. 85. Op. 100. Op. 107.

24

Medium

of the

Beginners.

L. 191

Op. Op. Op.

KOHLER,

Studies.

Easy Melodious

The

82.

Op.

L. 535

Exercises. (Vogrich). sp.

C.

GURLITT,

L.534

and

same:

A.

KESSLER,

Problems.

Rhythmical

L. 1279

L. 801

The

H

GERMER,

L. 798

Scales

L. 170 L. 1083

JENSEN,

I.

same:

Ecole

H.

HERZ,

B. The

120.

Op.

Studies.

The

same:

Bk. I.

The

same:

Bk. II.

L. 1073

The

same:

Bk. III.

L. 1081

The

same:

sp.

L. 179

Op.

16

Op. 16. Op. 45. Op. 45. Op. 46. Op. 46. Op. 47.

L. 176 L. 1117

A

1,.177

A A A A A A

L. 1120 L. 178

Art

Phrasing.

of

The

Bk.

same:

Progressive

26

LE

II.

I.

for

Rhythm

and

Bk.

24

Op. Op.

17.

Op.

20.

for

(Oesterle). for Rhythm and 24 Studies (Scharfenlierg). from

sp.

e.

Op.

"'6.

-Mphabet. 25 Very Easy Studies. (Scharfenberg). L'Agilite.25 Progressive Studies for and Mechanism Light Touch. Studies to Czerny's 15 Preparatory "School

L. 175

Preludes.

Studies

Children,

The

Expression.

LISZT,

.32 Preludes.

Selected

Method

of

Velocity".

H.

I.

The

Op. 81.

50

Op.

L. 67

LEMOINE,

Op. 47.

125.

L. 4.30

L. 63

Bk.

Studies

L. 748

L. 24

the

F.

COUPPEY,

Studies. Complete.

same:

25

Piano

A

Complete.

The

same:

For

Melodious

I.

Studies. 25 Melodious The Bk. I. same: 30

Canons.

Two-Part

A.

CARPENTIER,

LE

L. 1133 The

L. 1123 I,.130 L. 766

14.

Beginner.

Complete.

119.

M.

Op.

Complete.

Studies. Bk. L. 180

K.

L. 939

S.

HELLER,

A

KUNZ,

L. 1071 L. 1072

Expression.

Op. 45, 46, 47.

(Oesterle).

Op.

37.

Etudes

Enfantines.

(Scharfenberg).

F.

L. 8.35

6

L. 788

12

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A A

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o

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imc

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The

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"

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100. 101.

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51 Exercises.

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Studies

12

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Preliminary School (Buonamici).

Velocity.

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A

Etudes Etudes

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A

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29

Selected

ies. Stud-

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A A A

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Op. 24. Op. 25.

25 Melodic

L. 140

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Op.

Studies

style. (Buonamici). 110 Easy and Progressive Exercises. (Buonamici). culty. Studies in Progressive Diffi6 Octave (Schultze). mici). (Buonafor Beginners. Practical Method and

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