The typology of the 1800's study was fixed once and for all by Cramer, in Study for the piano (1804-1810). According to Cramer, the study is a quite short piece, founded on a single instrumental scheme, whose prevailing technical aim cannot leave a valid musical content apart (unlike the exercise, that is the mere repetition of a mechanical formula). In the cramerian study the unit in the instrumental scheme (that will be an essential feature of the XIX century study) comes from Bach's model, whereas Domenico Scarlatti was set the example for the virtuous writing. The studies op.740 conform this typology in a strictest way than Cramer's ones. Every study is marked by a title that shows the pedagogical virtue: Clearness in agility (n. 3), Sweet skip and separate (op. 9), Agility in fingers alternation (op. 11) and so on. Czerny made use in order to codify the styles and the existing piano structures, of his ability in writing and his imitation capability. To a core of clementinian studies (like numbers 1, 5, 27, 28, 32, 34, 50), characterized by the powerful sonorousness and by the wide dimensions, were added studies in the more concise Cramer's style (for example nn. 8, 37, 41), whereas Hummel's influence seems to appear in studies like numbers 3, 4, 6, 7, 9, 10, 13, 18, 29 and 30, marked by an elegant and aerial writing. But the studies op. 740 also offer an example of music languages that are out from the didactic kind: echoes from the Magic flute are, for example, in the study n. 11 and numbers 18 and 45 are influenced by a sweetness that is typical in Mendelssohn. Czerny's historical function didn't limit itself to the arrangement of the classical piano building: studies like numbers 2, 31, 36 and 50 already use two or more simultaneous registers for the right hand: a technique that has nothing to do with Clementi's conception or with Beethoven's one (except form some examples), and that will become a feature of Czerny's most famous pupil, Franz Liszt.
credits
General coordinator: Isabella Longo,
Graphic design: Enzo Parrino.
tracklist
Composer
Title
Time
Artist
CARL CZERNY
ACTION OF THE FINGER THE HAND QUIET-ALLEGRO MOLTO
2'5''
MARIA MOSCA
CARL CZERNY
THE PASSING UNDER THE THUMB-ALLEGRO VIVACE
1'52''
MARIA MOSCA
CARL CZERNY
CLEARNESS IN RAPIDITY-PRESTO VELOCE
2'25''
MARIA MOSCA
CARL CZERNY
LIGHT MOTION IN QUIET STACCATO-ALLEGRO MOLTO
2'31''
STEFANIA CAFARO
CARL CZERNY
EVENNESS IN DOUBLE
1'30''
STEFANIA CAFARO
CARL CZERNY
CLEARNESS IN BROKEN CHORDS-MOLTO ALLEGRO E VELOCE
1'51''
VITTORIO BRESCIANI
CARL CZERNY
CHANGING THE FINGERS ON ONE AND THE SAME KEY-MOLTO ALLEGRO
1'55''
VITTORIO BRESCIANI
CARL CZERNY
LIGHT ACTION OF THE LEFT HAND-ALLEGRO MOLTO
1'57''
VITTORIO BRESCIANI
CARL CZERNY
DELICATE SKIPS AND DETACHED NOTES-ALLEGRO GIOCOSO
1'43''
MARIA MOSCA
CARL CZERNY
EXERCISE IN THIRDS-ALLEGRO VIVACE
59''
FRANCESCO CARAMIELLO
CARL CZERNY
READINESS IN CHANGING THE FINGERS-MOLTO ALLEGRO
1'34''
ANGELA CHIOFALO
CARL CZERNY
FLEXIBILITY OF THE LEFT HAND-VIVACE
1'54''
STEFANIA CAFARO
CARL CZERNY
THE UTMOST VELOCITY-VIVACE
2'1''
ANGELA CHIOFALO
CARL CZERNY
CHORD PASSAGES-ALLEGRO
2'5''
VITTORIO BRESCIANI
CARL CZERNY
EXTENSION WITH GREAT STRENGHT-ALLEGRO AGITATO ED ENERGICO
2'27''
FRANCESCO CARAMIELLO
CARL CZERNY
CHANGING THE FINGER IN RAPID PLAYNG-ALLEGRO VIVACE
1'31''
ANGELA CHIOFALO
CARL CZERNY
MINOR SCALES IN RAPID TEMPO-MOLTO ALLEGRO
1'30''
MARIA MOSCA
CARL CZERNY
CROSSING THE HANDS QUIETLY AND WITH DELICATE TOUCH-ALLEGRO
2'23''
ANGELA CHIOFALO
CARL CZERNY
EXTENSION THE HAND QUIET-VIVACE
1'59''
VITTORIO BRESCIANI
CARL CZERNY
DOUBLE OCTAVES-MOLTO VIVACE
2'15''
MARIA MOSCA
CARL CZERNY
THA SAME MOVIMENT IN EACH HAND-MOLTO ALLEGRO
1'51''
STEFANIA CAFARO
CARL CZERNY
TRILL EXERCISE-MOLTO ALLEGRO
1'55''
FRANCESCO CARAMIELLO
CARL CZERNY
LIGHT TOUCH IN THE FINGERS OF THE LEFT HAND-ALLEGRO PIACEVOLE
1'51''
STEFANIA CAFARO
CARL CZERNY
THE THUMB ON THE BLACK KEYS THE POSITION OF THE HAND PERFECTLY QUIET-MOLTO VIVACE CON VELOCITA
1'28''
STEFANIA CAFARO
CARL CZERNY
CLEARNESS IN RUNNING PASSAGES-MOLTO ALLEGRO
1'47''
STEFANIA CAFARO
CARL CZERNY
THE UTMOST VELOCITY IN CHORD PASSAGES-LENTO MODERATO
3'7''
STEFANIA CAFARO
CARL CZERNY
INDEPENDENCE OF THE FINGERS-ALLEGRO
2'42''
VITTORIO BRESCIANI
CARL CZERNY
A QUIET HAND THE FINGERS ACTIVE-ALLEGRO VIVACE
1'46''
FRANCESCO CARAMIELLO
CARL CZERNY
MORDENT EXERCISE-ALLEGRETTO VIVACE
1'36''
MARIA MOSCA
CARL CZERNY
TO ACQUIRE A FIRM TOUCH-VIVACE
1'48''
MARIA MOSCA
CARL CZERNY
PRACTICE IN THE PASSING UNDER OF THE THUMBS-VIVACE
1'31''
ANGELA CHIOFALO
CARL CZERNY
UNIFORMITY IN RAISING THE FINGERS-ALLEGRO MAESTOSO MA CON FUOCO
2'14''
FRANCESCO CARAMIELLO
CARL CZERNY
OCTAVE SKIPS THE HAND LIGHT-MOLTO ALLEGRO
1'34''
FRANCESCO CARAMIELLO
CARL CZERNY
TRILLS IN THIRDS-ALLEGRO COMODO
2'11''
FRANCESCO CARAMIELLO
CARL CZERNY
CHANGING THE FINGERS ON ONE AND THE SAME KEY-MOLTO ALLEGRO
1'30''
MARIA MOSCA
CARL CZERNY
LIGHT ARM THE FINGERS FLEXIBLE-ALLEGRO LEGGERO
1'19''
VITTORIO BRESCIANI
CARL CZERNY
CLARNESS IN GREAT STRENGHT-VIVACE
1'38''
STEFANIA CAFARO
CARL CZERNY
UNIFORMITY IN RAISING THE HANDS-MOLTO ALLEGRO
1'48''
VITTORIO BRESCIANI
CARL CZERNY
EXERCISE IN THIRDS-ALLEGRO VIVACE
2'4''
VITTORIO BRESCIANI
CARL CZERNY
LIGHT BREAKING OFF OR DETACHING OF CHORDS-MOLTO ALLEGRO
1'45''
VITTORIO BRESCIANI
CARL CZERNY
ACTION OF THE FINGERS OF THE LEFT HAND-VIVACE
57''
MARIA MOSCA
CARL CZERNY
DOUBLE MORDANT EXERCISE-ALLEGRO
1'44''
VITTORIO BRESCIANI
CARL CZERNY
SKILL IN THE PASSING UNDER OF THE THUMB-ALLEGRO VIVACE
2'2''
FRANCESCO CARAMIELLO
CARL CZERNY
THE LIGHTEST TOUCH THE FINGERS EXERTED TO UTMOST-VIVACISSIMO
1'40''
ANGELA CHIOFALO
CARL CZERNY
LEGATO MELODY WITH BROKEN CHORDS-ALLEGRO ANIMATO
1'55''
ANGELA CHIOFALO
CARL CZERNY
BRAVURA IN TOUCH AND ACTION-ALLEGRO MOLTO
2'17''
ANGELA CHIOFALO
CARL CZERNY
DELICATE AND DISTINCT TOUCH IN BROKEN CHORDS-MOLTO ALLEGRO
