Carl Czerni

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Carl Czerny HUMILIATES the Entire Modern Piano Establishment. Tempo Evolution 1839 to 1969.


Even though our top athletes would blast 19th century runners from the track, musicologists keep telling for us poor musicians such comparison would turn out really bad for us. A playing speed of 15 notes a second seemed to be for Czerny's and Beethoven's time absolutely a normal expectation for the average beginner. At least that's the practical conclusions of what the academic establishment insinuates (though they will not make that claim so practically visible to us...for a reason!) But do the facts support the claims of those who'll get doctoral degrees with it? Let's see. Last week I shared with you that incredible 1875 Czerny score with double metronome marks, edited and published by Charles Kunkel: 🤍 Thanks to Kunkel’s personal metronome marks, we could state as a fact that between 1839, the date of Czerny’s Schüle der Geläufigkeit and 1875, the date of Kunkel’s edition, tempi had gone up with an average of 43%. In this segment we are going to add another fascinating layer to that line of history. We will add the tempi of the opus 299 chosen in 1969 by the famous Czerny performer Vivien Harvey Slater. And by doing so we will have a unique line of tempo evolution starting from Czerny 1839 over Kunkel 1875 and ending in 1969. Start your tempo journey here: 🤍 🙋Support the movement we're building and become an insider ▶🤍 Not sure why you would? Click here: 🤍 Relating episodes: Not Pollini but Charles Kunkel leads to Beethoven Paradise! Double MM's in an 1875 Czerny Score!! 🤍 Even Czerny's direct Students not able to play his Etudes? 🤍 My "Immoral Tempo Allegations" Refuted by Early Recordings. Or not? 🤍 Isidore Philipp and Beethoven's legacy 🤍 💿 Buy Pachelbel's Hexachordum Apollinis on Vinyl, CD or Flac) here: 🤍 📩One weekly mail in your mailbox? 👉🤍 👩‍🎓 Check out my course on Keyboard Technique: 👉🤍 📱 Website: ▶🤍 #TempoEvolution

Carl Czerny: A Pedantic DESTROYER of J.S.Bach's Legacy? Invention n°1 BWV 772


For many musicians in the 19th century, including F.Chopin, Carl Czerny's edition for the Keyboard Works of J.S.Bach was THE authoritative source for how to play Bach's music. Today we seem to have a different opinion on Czerny's contributions. Especially his fast, extremely fast tempi he gave for Bach fall outside every performing tradition of the last 100 years. Why did it change? In this video, we'll compare 11 recordings (see below) of Bach's Invention in C Major to the edition Carl Czerny made of Bach's works. If you want to dive into the Czerny Bach edition yourself, be aware that for the inventions many later so-called 'reprints' use different Metronome Marks without a disclaimer. Here are the original ones: 1) Invention n°1 in C Major, BWV 772/ Czerny q=138 2) Invention n°2 in C Minor, BWV 773/ Czerny q=126 3) Invention n°3 in D Major, BWV 774/ Czerny q.=92 4) Invention n°4 in D Minor, BWV 775/ Czerny q.=84 5) Invention n°5 in Eb Major, BWV 776/ Czerny q=144 6) Invention n°6 in E Major, BWV 777/ Czerny 8.=160 7) Invention n°7 in E Minor, BWV 778/ Czerny q=138 8) Invention n°8 in F Major, BWV 779/ Czerny q=152 9) Invention n° 9 in F Minor, BWV 780/ Czerny q=126 10) Invention n°10 in G Major, BWV 781/ Czerny q=160 11) Invention n°11 in G Minor, BWV 782/ Czerny q=120 12) Invention n°12 in A Major, BWV 783/ Czerny q.=96 13) Invention n°13 in A Minor, BWV 784/ Czerny q=126 14) Invention n°14 in Bb Major, BWV 785/ Czerny q=108 15) Invention n°15 in B Minor, BWV 786/ Czerny q=120 Start your tempo journey here: 🤍 🙋Join our awesome patreon community here ▶🤍 Recordings used in this video James Friskin (1886-1967) 🤍 Walter Gieseking (1895-1956) 🤍 Rosalyn Tureck (1913-2003) 🤍 Tatjana Nikolajeva (1927-1993) 🤍 Gustav Leonhardt (1928-2012) 🤍 Glenn Gould (1932-1982) 🤍 Glenn Gould practicing 🤍 Andras Schiff 🤍 Ton Koopman 🤍 Valentina Lisitsa 🤍 Benjamin Allard 🤍 💿 Buy Pachelbel's Hexachordum Apollinis on Vinyl, CD or Flac) here: 🤍 📩One weekly mail in your mailbox? 👉🤍 👩‍🎓 Check out my course on Keyboard Technique: 👉🤍 📱 Website: ▶🤍 #CzernyBach

Carl Czerny - The Art of Finger Dexterity, op. 740


The Art of Finger Dexterity, 50 Brilliant Studies, op. 740 L'arte di render agili le dita, 50 studi brillanti, op. 740 Die Kunst der Fingerfertigkeit, 50 Brillante Etüden, op. 740 - Public domain score available on imslp - 1. Action of the fingers, the hand quiet (Molto allegro) 0:00 2. The passing under of the thumb (Allegro vivace) 1:54 3. Clearness in rapidity (Presto veloce) 3:31 4. Light motion in quiet staccato (Molto allegro) 5:37 5. Evenness in double passages (Molto allegro) 7:51 6. Clearness in broken chords (Molto allegro e veloce) 9:19 7. Changing the fingers on one and the same key (Molto allegro) 10:57 8. Light action of the left hand (Molto allegro) 12:40 9. Delicate skips and detached notes (Allegro giocoso) 14:12 10. Exercise in thirds (Allegro vivace) 15:51 11. Readiness in changing the fingers (Molto allegro) 16:41 12. Flexibility of the left hand (Vivace) 18:08 13. The utmost velocity (Vivace) 20:02 14. Chord passages (Allegro) 21:48 15. Extension, with great strength (Allegro agitato) 23:46 16. Changing fingers in rapid playing (Allegro vivace) 25:39 17. Minor scales in rapid tempo (Molto allegro) 27:03 18. Crossing the hands quietly and with delicate touch (Allegro) 28:19 19. Extension, the hand quiet (Vivace) 30:26 20. Double octaves (Molto vivace) 32:03 21. The same movement in each hand (Molto allegro) 34:04 22. Trill exercise (Molto allegro) 35:44 23. Light touch in the fingers of the left hand (Allegro piacevole) 37:21 24. The thumb on the black keys, the position of the hand perfectly quiet (Molto vivace) 39:07 25. Clearness in running passages (Molto allegro) 40:30 26. The utmost velocity in chord passages (Lento moderato) 42:10 27. Independence of the fingers (Allegro) 44:44 28. A quiet hand, the fingers active to the utmost (Allegro vivace) 47:08 29. Mordent-exercise (Allegro vivace) 48:52 30. To acquire a firm touch (Vivace) 50:17 31. Practice in the passing under of the thumbs (Vivace) 51:47 32. Uniformity in raising the fingers (Allegro maestoso) 53:01 33. Octave skips, the hand light (Molto allegro) 55:07 34. Trill in thirds (Allegro comodo) 56:46 35. Changing the fingers on one and the same keys (Molto allegro) 58:32 36. Light arm, the fingers flexible (Allegro leggiero) 59:42 37. Clearness in great strength (Vivace) 1:00:51 38. Uniformity in raising the hands (Molto allegro) 1:02:29 39. Exercise in thirds (Allegro vivace) 1:04:10 40. Light breaking off or detaching of chords (Molto allegro) 1:05:42 41. Action of the fingers of the left hand (Vivace) 1:07:09 42. Double-mordent-exercise (Allegro) 1:08:06 43. Skill in passing under of the thumb (Allegro vivace) 1:09:33 44. The lightest touch, the fingers exerted to the utmost (Vivacissimo) 1:11:10 45. Legato melody with broken chords (Allegro animato) 1:12:34 46. Bravura in touch and action (Molto allegro) 1:14:08 47. Delicate and distinct touch in broken chords (Molto allegro) 1:15:57 48. Trill-exercise (Allegro comodo) 1:17:37 49. Octaves Bravura (Vivace) 1:20:55 50. Bravura in touch and tempo (Allegro agitato) 1:23:02

The Best of Czerny - Father of Piano Music


The Best of Czerny - Father of Piano Music (Czerny's Real Music - Not His Excercises) "As to Czerny, I have been appreciating the full-blooded musician in him more than the remarkable pedagogue." - Igor Stravinsky, 1935 (Chroniques de ma vie) A Happy New Year to all this 2020! Thanks to my free time, I have managed to put up a 3-hour compilation of YouTube videos which feature performances of some of the best works of Carl Czerny. Many are familiar with Czerny's exercise books, but rarely are his "real" music performed in concert or recorded. Czerny authored over 1,000 works, some of which contain, in themselves, dozens of pieces. His output encompassed almost every genre excluding opera - including Piano Sonatas, etudes, Piano Concerti, Symphonies, chamber works, religious works, nocturnes, opera paraphrases, etc. Of these, only a few have been recorded by famous pianists, most notably the "La Ricordanza" variations, a personal favourite of Vladimir Horowitz and recorded by him. Known for his legendary industriousness, from birth Czerny followed a rigid training regimen under his father Wenzel, of Czech descent; "work and no play was the order of the day" (Nicholas 2017, as quoted in Hyperion Records). Soon however, he had the fortune of studying under Beethoven, Hummel, and Clementi, three of the foremost masters of the day, and went on to become perhaps Beethoven's greatest disciple, allegedly able to play all his 32 Sonatas from memory and writing a lengthy treatise on the proper performance practice of these works. "Czerny's devotion to his art was total" , and "taught and composed for all the hours God gave him" (Nicholas 2017). He would teach 10 to 12 hours a day at one time, and produced some of the finest pianists of the day, including Liszt and Thalberg. He was one of the first to pioneer the piano etude, and, while often perceived as not being the most original of composers - he was sometimes criticized even during his time - his real interest seemed to lay more in teaching and promoting the works of Beethoven over his own, "eschew(ing) fashionable society" (Nicholas 2017) and, in musicologist Ferdinand Pohl's words, being "modest and simple in his manner of life, courteous and friendly in his behaviour, just and kindly in his judgement on matters of art, and helpful to all young artists who came his way." Czerny never married, as was what seemed to have been a common occurrence for Austrian men at the time (due to the then financial and educational requirements for matrimony then imposed by the Catholic Church), though some letters discovered after his death reveal a possible love interest in a woman by the name of "Resi" - not much is otherwise known about his personal affairs. Upon his death, Czerny requested that a Requiem mass be performed in his memory, and donated part of his fortune to an institution for deaf-mutes. Though he had no known close relatives at the time, it is possible that descendants abound today. I am very grateful to all those who uploaded the videos which constitute this project. Their channels are mentioned in my comment below, as well as additional details and the time-stamps in this video. I hope you enjoy listening. I would very much like to extend my gratitude to the following YouTube channels who supplied these videos, and who have tirelessly made these performances accessible to everyone on the Internet: TheMalteseBurger - 🤍 Czeyner La Mente Musical - 🤍 Gogolsuite - 🤍 davidhertzberg - 🤍 Stephan H - 🤍 deviantrake - 🤍 Sonata - 🤍 Score'sAnimation - 🤍 Daniel Grimwood - 🤍 Daniel Blumenthal - Topic (🤍 Classical Piano Rarities - 🤍 Giuseppe Aresu (Gys6) - 🤍 Johann Rufinatscha - 🤍 atsusiueno - 🤍 sibarit101 - 🤍 Папа Ген - 🤍 I have put in my comment below the time-stamps as well as the references to the images used.

Carl Czerny - 24 Studi Op.636


Rino Nicolosi - Piano

[old] Carl Czerny - The School of Velocity, op. 299


The School of Velocity, 40 Studies op. 299 La scuola della velocità, 40 studi op. 299 Die Schule der Geläufigkeit, 40 Etüden op. 299 - 1. Presto 2. Molto allegro 3. Presto 4. Presto 5. Molto allegro 6. Molto allegro 7. Molto allegro 8. Molto allegro 8. Molto allegro 9. Molto allegro 10. Molto allegro 11. Presto 12. Molto allegro 13. Presto 14. Molto vivo e velocissimo 15. Presto 16. Presto 17. Molto allegro 18. Molto allegro 19. Presto 20. Molto vivace 21. Molto allegro 22. Molto allegro 23. Molto allegro 24. Molto allegro 25. Molto allegro 26. Allegro 27. Presto 28. Presto 29. Molto allegro 30. Presto volante 31. Molto allegro 32. Presto volante 33. Molto allegro e veloce 34. Allegro molto vivo ed energico 35. Allegro vivacissimo 36. Presto 37. Molto allegro e giocoso 38. Molto allegro, quasi presto 39. Presto (à la Galopade) 40. Allegrissimo, quasi presto

Carl Czerny - Piano Concerto in a minor, Op. 214 (1829) - Audio + Sheet Music


Dedicated to Méreaux, Czerny's Piano Concerto in a minor is perhaps one of the most virtuosic piano concerti composed in the classical style, Czerny's piano concerto in a minor features a compendium of pianistic techniques developed during the early Romantic era. David Boldrini - piano Rami Musicali Orchestra, conducted by Maestro Massimo Belli (from the album "Czerny & Viotti: Piano Concertos" released under Brilliant Classics). "The Piano Concerto in A minor, Op 214, was composed in Vienna in 1829 and published the following year. It is dedicated to the French musicologist and composer Amédée Méreaux (1802–1874) who—like Czerny, and his present obscurity notwithstanding—is best known for his piano studies. (His time will come; many of his 60 Études, Op 63, are of great interest and even more difficult to play than those of Alkan.) Some see the A minor concerto as one of the earliest Romantic concertos penned. To others it is a transitional work with elements of the many brilliant piano and orchestra works already celebrated in this Hyperion series but with many backward glances to the concertos of Hummel, Weber and Field. The first movement’s opening material is used in various guises throughout the work, its solo part described by one writer, Lorenzo Ancillotti, as ‘a true compendium of the technical difficulties that pianists of the time were likely to address’. The initial ideas, incorporating some surprising modulations, eventually subside into a second section (8'43") in A major and D minor. After a return to the original theme and key, Czerny introduces another subject (12'00"), presented at first in F major. Much of the delicate filigree writing is set an octave above the stave—and brilliant it is, too, as the soloist storms home after what must be one of the longest suspensions in any concerto before the inevitable release back into the tonic. The adagio second movement is in the dominant key of E major and forms no more than a contrasting link to the finale, a 2/4 rondo marked allegro con anima—‘in a spirited manner’. ‘Spirited’ might be construed as an understatement given the demanding solo part, a relentless succession of semiquaver triplets, dancing arpeggios and scales in thirds designed to astonish and entertain in equal measure. A short chorale episode at 6'30" is the only let up for the pianist as the work bowls towards its conclusion leaving the listener in no doubt as to the key of the concerto." - Description by Jeremy Nicholas (2017) from Hyperion Records 🤍 I'm grateful to the YouTube user Johann Rufinatscha, who originally uploaded the recording to YouTube. Sheet Music download link: 🤍

Variations on 'Gott erhalte Franz den Kaiser' Op.73 By Carl Czerny (String Quartet) (with Score)


Ok, this is my video! Surprisingly, Czerny has composed a variation on his teacher's "teacher" 's music. Quite a cool set of variations to me, really! Don't think that Czerny is boring, this is the greatest example of that! There is a version of piano and orchestra. They are differed from one of the variation, so don't miss another one! Here is the link: 🤍 Hope you enjoy!

Carl Czerny - 30 Studi Op.849


Rino Nicolosi - Piano

Carl Czerny - Piano Concerto in C major for four hands, Op.153


Carl Czerny Work: Piano Concerto in C major for four hands, Op.153 Mov.I: Allegro con brio Mov.II: Adagio espressivo Mov.III: Rondo alla Polacca Pianist: Anna & Ines Walachowski Orchestra: Philharmonisches Orchester Altenburg-Gera Conductor: David Porcelijn Radio recording

Carl Czerny - Piano Concerto in E-flat major


Carl Czerny (1791~1857) Piano Concerto in E-flat major (Second Grand Concerto) (1812-14) 00:00 I. Adagio - Molto allegro vivace con brio 20:50 II. Andante grazioso 32:10 III. Rondo finale - Allegro assai Piano : Rosemary Tuck Principal Horn : Hugh Seenan English Chamber Orchestra / Richard Bonynge Painting : Agostino Veroni - Positano Italy Art on Canvas Prints Amalfi Coast Poster Wall Decor

Carl Czerny - Eight Nocturnes, Op. 604


Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. Sections: No. 1 "L'hommage" (Lento armonioso) No. 2 "Le désir" (Allegro vivo ed appassionat) No. 3 "La persuasion" (Andantino espressivo) No. 4 "La colère" (Allegro vivo ed agitato) No. 5 "L'excuse" (Allegro moderato grazioso) No. 6 "La consolation" (Allegro con brio) No. 7 "La méditation" (Adagio espressivo) No. 8 "La joie" (Presto allegressimo) Performer: Isabelle Oehmichen. Painting: Petrus Van Schendel - The Refreshment Stall.

Carl Czerny - 100 Studi Op.599


Rino Nicolosi - Piano

Carl Czerny(1791-1857):Symphony Nº6 in G minor(1854).


I.Andante maestoso.Allegro con brio:10:40 II.Andante un poco sostenuto:8:52 III.Scherzo:Trio:5:27 IV.Finale:8:05 Stuttgart Radio Symphony Orchestra/G.Nowak

[Carl Czerny] Symphony No.1 in C Minor Op.780 (Score-Video)


The Symphony has 4 movements: I. Allegro agitato e con brio II. Andante sostenuto (12:55) III. Scherzo. Vivace Presto (20:52) IV. Finale. Allegro vivace (27:25) Performers: Brandenburgisches Staatsorchester Frankfurt / Nikos Athinäos Score from IMSLP Audio from 🤍

Carl Czerny - Sonata 1 Op.7 Complete-Martin Jones (Liszt played this sonata at his concerts)


As a concert pianist, Liszt went on to include several Czerny compositions in his repertoire. Liszt also dedicated his twelve Transcendental Études to Czerny, who was among the first composers to pioneer the "étude" form. Liszt also collaborated with Czerny on the Hexaméron; a joint work along with fellow composers Frédéric Chopin, Sigismond Thalberg, Henri Herz, and Johann Peter Pixis. Even Liszt was not immune to the prejudices about Czerny launched by Robert Schumann. The reason was the same, the lack of knowledge of the serious works of Czerny. In a letter written to Otto Jahn, a celebrated biographer of Mozart, by Liszt in October 30, 1852, Liszt regrets Czerny not having composed other works such as the Piano Sonata in A-flat major, Op. 7:"It is only a pity that, by a too super-abundant productiveness, he has necessarily weakened himself, and has not gone on further on the road of his first Sonata (Op. 7, A-flat major) and of other works of that period, which I rate very highly, as compositions of importance, beautifully formed and having the noblest tendency."[13] Apparently, Liszt did not know that Czerny composed ten other solo piano sonatas of musical value equal to or greater than the Piano Sonata in A-flat major, Op. 7. My dear and beloved master, It would be impossible to explain to you the why and wherefore of my leaving you so long without news of me. Moreover, I have now only five minutes in which to write to you, for Mr. Luden, a pianist from Copenhagen, is starting shortly, and for fear of delaying his journey I must be brief; but what is postponed is not lost, so cheer up, for very soon you will get a great thick letter from me, which I will take care to prepay, as I should not like to ruin you. Among all the circles of artists where I go in this country I plead your cause tremendously: we all want you to come and stay some time in paris; it would certainly do you a great deal of good, and you are so widely esteemed that you will doubtless be well satisfied with the reception you will meet with here. If you ever entertain this idea, write to me, I entreat you, for I will do for you what I would for my father. I have been making a special study of your admirable sonata (op.7), and have since played it at several reunions of connoisseurs (or would be connoisseurs): you cannot imagine what an effect it made; I was quite overcome by it. It was in a burst of enthusiasm caused by the prestissimo, that Mr. Luden begged for a few words of introduction to you; I know your kindness, indeed I could never forget it. I therefore commend him in all confidence to your goodness, untill the time when I am so happy as to embrace you myself and to show you (however feebly) all the gratitude and admiration which fill me. F. Liszt. Paris, August 26th, 1830. Como pianista de concierto, Liszt incluyó varias composiciones de Czerny en su repertorio. Liszt también dedicó sus doce Études trascendentales a Czerny, quien fue uno de los primeros compositores en ser pionero de la forma " étude ". Liszt también colaboró ​​con Czerny en el Hexaméron ; un trabajo conjunto junto con otros compositores Frédéric Chopin , Sigismond Thalberg , Henri Herz y Johann Peter Pixis . Incluso Liszt no era inmune a los prejuicios sobre Czerny lanzados por Robert Schumann. La razón era la misma, la falta de conocimiento de las obras serias de Czerny. En una carta escrita a Otto Jahn , un famoso biógrafo de Mozart, por Liszt el 30 de octubre de 1852, Liszt lamenta que Czerny no haya compuesto otras obras como la Sonata para piano en la bemol mayor, op. 7: "Es una lástima que, por una productividad demasiado abundante, se haya debilitado necesariamente y no haya seguido el camino de su primera Sonata (Op. 7, bemol mayor) y de otros obras de ese período, que califico muy bien, como composiciones de importancia, bellamente formadas y con la más noble tendencia ". [ 13 ] Aparentemente, Liszt no sabía que Czerny compuso otras diez sonatas para piano solista de valor musical igual o mayor que la Sonata para piano en la bemol mayor, Op. 7

Carl Czerny - Piano Sonata No. 2 in A Minor, Op. 13 (1821)


Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. Sections of the work: Mov.I: Molto allegro 00:00 Mov.II: Adagio sostenuto Mov.III: Scherzo. Presto - Trio Mov.IV: Allegro agitato Mov.V: A la Fuga. Allegro energico Performer: Martin Jones. Painting: Ernst Ferdinand Oehme - Moonlight on the Gulf of Salerno (1827).

Carl Czerny: Concertino in C, Op. 210/13 - Rosemary Tuck, Richard Bonynge, ECO.


Czerny's Piano Concertino Op. 210/13 ( manuscript Op. 197) Allegro moderato Andante grazioso Rondo: Allegro vivace Published as two separate pieces in his day, Czerny's Op. 197 manuscript reveals that together they originally formed a substantial three movement work. Recorded in London, December 2018. Rosemary Tuck, piano with the English Chamber Orchestra under Richard Bonynge. Licensed to Youtube by Naxos

Carl Czerny (1791-1857) - Variations on 'Gott erhalte Franz den Kaiser' (1824)


Happy Birthday Carl Czerny! 🎹🎂🎉🎁 Composer: Carl Czerny (1791-1857) Work: Variations on 'Gott erhalte Franz den Kaiser', Op. 73 (1824) Performers: Felicja Blumental (1908-1991, piano); Vienna Chamber Orchestra; Hellmuth Froschauer (1933-2019, conductor) Painting: Josef Danhauser (1805-1845) - Gesellschaftsszene Image in high resolution: 🤍 Further info: 🤍 Listen free: No available - Carl Czerny (Vienna, 21 February 1791 - Vienna, 15 July 1857) Austrian piano teacher, composer, pianist, theorist and historian.The primary source of information about Czerny is his autobiographical sketch entitled Erinnerungen aus meinem Leben (1842). Czerny, an only child, was born in Vienna. He and his parents resided together until his mother's death in 1827, and his father's in 1832. He never married, and lived alone for the remainder of his life. Czerny describes his childhood as ‘under my parents’ constant supervision… carefully isolated from other children’. He began to study the piano with his father at an early age, and by ten was ‘able to play cleanly and fluently nearly everything of Mozart [and] Clementi’. His first efforts at composition began around the age of seven. In 1799, he began to study Beethoven's compositions, coached by Wenzel Krumpholz, a violinist in the Court Opera orchestra, who introduced him to Beethoven when he was ten. Beethoven indicated that he wanted to teach Czerny several times a week, and told his father to procure C.P.E. Bach's Versuch. Czerny describes the lessons as consisting of scales and technique at first, then progressing through the Versuch, with the stress on legato technique throughout. The lessons stopped around 1802, because Beethoven needed to concentrate for longer periods of time on composition, and because Czerny's father was unable to sacrifice his own lessons in order to take his son to Beethoven. Czerny neverthless remained on close terms with the composer, who asked him to proofread all his newly published works, and entrusted him with the piano reduction of the score of Fidelio in 1805. In 1800, Czerny made his public début in the Vienna Augarten hall, performing Mozart's C minor Concerto k491. He was renowned for his interpretation of Beethoven's work, performing the First Concerto in C major in 1806, and the ‘Emperor’ in 1812. Beginning in 1816 he gave weekly programmes at his home devoted exclusively to Beethoven's piano music, many of which were attended by the composer. Apparently he could perform all of Beethoven's piano music from memory. Although his playing was praised by many critics (‘uncommonly fiery’, according to Schilling), he did not pursue a career as a performer. Instead, he decided to concentrate on teaching and composition. He spent a good deal of time with Clementi when the latter was in Vienna in 1810, becoming familiar with his method of teaching, which Czerny greatly admired and incorporated into his own pedagogy. In his early teens Czerny began to teach some of his father's students. By the age of 15, he was commanding a good price for his lessons, and had many pupils. In 1815, Beethoven asked him to teach his nephew, Carl. As his reputation continued to grow, he was able to command a lucrative fee, and for the next 21 years he claims to have given 12 lessons a day, 8 a.m. to 8 p.m., until he gave up teaching entirely in 1836. In 1821, the nine-year-old Liszt began a two-year period of study with Czerny. The teacher noted that ‘never before had I had so eager, talented, or industrious a student’, but lamented that Liszt had begun his performing career too early, without proper training in composition. Czerny also taught, among others, Döhler, Kullak, Alfred Jaëll, Thalberg, Heller, Ninette von Bellevile-Oury and Blahetka. Around 1802, Czerny began to copy out many J.S. Bach fugues, Scarlatti sonatas and other works by ‘ancient’ composers. He describes learning orchestration by copying the parts from the first two Beethoven symphonies, and several Haydn and Mozart symphonies as well. He published his first composition in 1806 at the age of 15: a set of 20 Variations concertantes for piano and violin op.1 on a theme by Krumpholz. Until he gave up teaching, composition occupied ‘every free moment I had’, usually the evenings. Czerny was a central figure in the transmission of Beethoven's legacy. Many of his technical exercises remain an essential part of nearly every pianist's training, but most of his compositions – in nearly every genre, sacred and secular, with opus numbers totalling 861, and an even greater number of works published without opus – are largely forgotten. A large number of theoretical works are of great importance for the insight they offer into contemporary musical genres and performance practice.

The Best of Carl Czerny - Piano Etudes


The Best of Carl Czerny - Piano Solo Etudes. Carl Czerny 6 Etudes de Salon Op.754 - No.6 G minor by Nakamura, Junko 00:00 Carl Czerny 24 Grand Etudes de Salon Op.692 - No.21 'Bravery' E minor by Kyotani, Teruma 03:17 Carl Czerny 6 Etudes de Salon Op.754 - No.5 D flat major by Nakamura, Junko 05:42 Carl Czerny The Art of Finger Dexterity Op.740 - No.50 G minor by Francesco Libetta 09:46 Carl Czerny 24 Grand Etudes de Salon Op.692 - No.19 'Ballad' G flat major by Nakamura, Junko 11:36 Carl Czerny Schule des virtuosen Op.365 - No.33 E minor by H stephan 18:38 Carl Czerny 24 Grand Etudes de Salon Op.692 - No.2 'Tranquility' E major by Nakamura, Junko 19:51 Carl Czerny Scherzino alla tarantelle Op.763 G minor by Roman Repka 22:57 Carl Czerny The Art of Finger Dexterity Op.740 - No.9 E major by Francesco Libetta 25:57

Carl Czerny: Piano Concerto No. 1 in D minor


It is my sincere desire that any and all potential or actual remuneration that may be my due be instead directed towards any and all holders of copyright. Carl Czerny (1791-1857) Piano Concerto No. 1 in D minor (1812) I. Allegro molto agitato 0:00 II. Adagio 24:53 III. Allegro molto vivace 29:12 Rosemary Tuck, piano English Chamber Orchestra Richard Bonynge, conductor Carl Czerny ( 1791 – 1857) was an Austrian composer, teacher, and pianist of Czech origin whose vast musical production amounted to over a thousand works. His books of studies for the piano are still widely used in piano teaching. Czerny was born in Vienna (Leopoldstadt) and was baptized in St. Leopold parish. His parents were of Czech origin; his mother was Moravian. His parents spoke the Czech language with him. Czerny came from a musical family: his grandfather was a violinist at Nymburk, near Prague, and his father, Wenzel, was an oboist, organist and pianist. When Czerny was six months old, his father took a job as a piano teacher at a Polish manor and the family moved to Poland, where they lived until the third partition of Poland prompted the family to return to Vienna in 1795. A child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, who taught him mainly Bach, Haydn and Mozart. He began performing piano recitals in his parents' home. Czerny made his first public performance in 1800 playing Mozart's Piano Concerto No. 24 in C minor. In 1801, Wenzel Krumpholz, a Czech composer and violinist, scheduled a presentation for Czerny at the home of Ludwig van Beethoven. Beethoven asked Czerny to play his Pathétique Sonata and Adelaide. Beethoven was impressed with the 10-year-old and accepted him as a pupil. Czerny remained under Beethoven's tutelage until 1804 and sporadically thereafter. He particularly admired Beethoven's facility at improvisation, his expertise at fingering, the rapidity of his scales and trills, and his restrained demeanour while performing. Czerny's autobiography and letters give many important references to Beethoven during this period. Czerny was the first to report symptoms of Beethoven's deafness, years before the matter became public: "I also noticed with that visual quickness peculiar to children that he had cotton which seemed to have been steeped in a yellowish liquid, in his ears." Czerny was selected by Beethoven for the premiere of the latter's Piano Concerto No. 1 in 1806 and, at the age of 21, in February 1812, Czerny gave the Vienna premiere of Beethoven's Piano Concerto No. 5, "Emperor". Czerny wrote that his musical memory enabled him to play all the Beethoven works by heart without exception and, during the years 1804–1805, he used to play these works in this manner at Prince Lichnowsky's palace once or twice a week, with the Prince calling out only the desired opus numbers. Czerny maintained a relationship with Beethoven throughout his life, and also gave piano lessons to Beethoven's nephew Carl. At the age of fifteen, Czerny began a very successful teaching career. Basing his method on the teaching of Beethoven and Muzio Clementi, Czerny taught up to twelve lessons a day in the homes of Viennese nobility. His 'star' pupils included Theodor Döhler, Stephen Heller, Sigismond Thalberg, Leopoldine Blahetka and Ninette de Belleville. Franz Liszt became Czerny's most famous pupil. He trained the child with the works of Beethoven, Clementi, Ignaz Moscheles and Johann Sebastian Bach. The Liszt family lived in the same street in Vienna as Czerny, who was so impressed by the boy that he taught him free of charge. Liszt was later to repay this confidence by introducing the music of Czerny at many of his Paris recitals. Shortly before Liszt's Vienna concert of 13 April 1823 (his final concert of that season), Czerny arranged, with some difficulty (as Beethoven increasingly disliked child prodigies) the introduction of Liszt to Beethoven. Beethoven was sufficiently impressed with the young Liszt to give him a kiss on the forehead. Liszt remained close to Czerny, and in 1852 his Études d'exécution transcendente were published with a dedication to Czerny. Czerny left Vienna only to make trips to Italy, France (in 1837, when he was assisted by Liszt) and England. After 1840, Czerny devoted himself exclusively to composition. He wrote a large number of piano solo exercises for the development of the pianistic technique (Gradus ad Parnassum), designed to cover from the first lessons for children up to the needs of the most advanced virtuoso. Czerny died in Vienna at the age of 66. He never married and had no near relatives. His large fortune he willed to charities (including an institution for the deaf), his housekeeper and the Society of Friends of Music in Vienna, after making provision for the performance of a Requiem mass in his memory.

Carl Czerny - 40 Studi Op.299


Rino Nicolosi - Piano

Carl Czerny, Op 599, 1


Dr. Alan Huckleberry, piano The University of Iowa Piano Pedagogy Video Recording Project IMTA Level A From Practical Method for Beginners on the Pianoforte

Carl Czerny - School of the Virtuoso, op. 365


School of the Virtuoso, 60 Studies, op. 365 Scuola del virtuoso, 60 Studi, op. 365 Schule des Virtuosen, 60 Studien, op. 365 - Public domain score, available on imslp - 1. Molto allegro 0:00 2. Molto allegro 1:01 3. Molto allegro 1:50 4. Molto allegro 2:45 5. Andantino con moto 4:10 6. Molto allegro velocissimo 6:55 7. Moderato 7:40 8. Allegro 8:49 9. Molto allegro 9:45 10. Allegro 10:27 11. Allegro 11:46 12. Allegro vivo 12:40 13. Molto allegro 13:35 14. Allegro 14:25 15. Andantino moderato 16:19 16. Allegro vivo 19:25 17. Molto allegro 20:08 18. Moderato quasi andante 20:46 19. Allegro 22:36 20. Allegro vivace 23:37 21. Allegro 24:24 22. Allegro vivo 25:45 23. Allegro 26:37 24. Molto allegro 27:39 25. Allegro vivo 28:32 26. Molto allegro 30:11 27. Allegro vivo 31:09 28. Molto allegro 31:55 29. Allegro 32:41 30. Molto allegro 33:36 31. Allegro comodo 34:20 32. Allegro vivace 35:10 33. Andantino con moto 36:11 34. Allegro 37:32 35. Molto allegro 38:59 36. Allegro moderato 40:03 37. Allegro 41:18 38. Allegro moderato e maestoso 41:45 39. Allegretto moderato 42:28 40. Allegro vivace 43:39 41. Allegro moderato 44:36 42. Allegro 45:47 43. Allegro non troppo 46:35 44. Allegro 47:31 45. Molto allegro 48:31 46. Allegro vivace 49:21 47. Andantino grazioso 50:14 48. Allegro vivace 53:00 49. Allegro non troppo 53:54 50. Allegro vivo 55:44 51. MOlto allegro 56:28 52. Molto allegro 57:21 53. Allegro vivace 58:12 54. Allegro 59:12 55. Allegro vivace 1:00:23 56. Molto allegro 1:01:06 57. Presto 1:02:17 58. Moderato 1:03:21 59. Allegro 1:04:20 60. Allegro vivace 1:05:08

Carl Czerny-Grand Sonata Op.145 No.9 in B minor Complete(dedicated to Ignaz Moscheles)-Martin Jones


A work of art of the highest level, I'm sure Liszt would have liked it as much as the Sonata 1 Op.7, this sonata is an Opus before the funeral march to the death of Beethoven Op.146

Carl Czerny - Album élégant des dames pianistes, Op. 804


Carl Czerny (German: [ˈtʃɛʁniː]; 21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin whose music spanned the late Classical and early Romantic eras. Sections: No. 1. Euphrosine No. 2. Hortense No. 3. Arabella No. 4. Malvina No. 5. Isabelle No. 6. Celestine No. 7. Delphine No. 8. Justine No. 9. Helene No. 10. Irene No. 11. Felice No. 12. Diana No. 13. Eugenie No. 14. Serena No. 15. Melanie No. 16. Feodora No. 17. Amanda No. 18. Henriette No. 19. Fortunata No. 20. Seraphine No. 21. Leontine No. 22. Virginie No. 23. Aline No. 24. Joconde Performer: Claudio Colombo. Painting: Middleton Alexander Jameson - At the Piano.

Carl Czerny: Variations on a Favourite Viennese Waltz by F. Schubert, Op.12 (ENCORE)


▶ GET it on Amazon: 🤍 ♫ STREAM it on Spotify: 🤍 ▶ GET it on iTunes: 🤍 ▶ GET it on GooglePlay Music: 🤍 * Carl Czerny: Variations on a Favourite Viennese Waltz by F. Schubert, Op.12 (Variationen über einen beliebten Wiener-Walzer, Op.12). Performed by VADIM CHAIMOVICH (live rec. 2010) #Czerny #Schubert #Variations #Chaimovich * Now also available for download & personal listening: Vadim Chaimovich's interpretation of Chopin's most famous "Nocturne in E-flat Major, Op. 9. No. 2", which is, with over 90 million views (Nov. 2018), the most viewed composition by Chopin on YouTube: 🤍 🤍 🤍 * If you want to license these or other recordings by Vadim Chaimovich for TV, film, Internet etc. or engage him for a concert, please get in touch via 🤍 * Carl Czerny (1791- 1857) was an Austrian pianist, composer and teacher. He is best remembered today for his books of études for the piano. Czerny's music was profoundly influenced by his teachers, Muzio Clementi, Johann Nepomuk Hummel, Antonio Salieri and Ludwig van Beethoven. His notable students included Sigismond Thalberg, Stephen Heller, Alfred Jaëll, Theodor Leschetizky, Theodor Kullak, Theodor Döhler, and Anna Caroline Oury. Perhaps his most famous student was Franz Liszt, who began studying with Czerny at age nine. Czerny was Liszt's only teacher. Upon taking him on as a student, Czerny forced Liszt to abandon all repertoire for the first few months, insisting he play only scales and exercises to strengthen his technique...

Carl Czerny Grand Etude Op.692.No.3 ‘LA LEGERETE'


#pianohobby Czerny Grand salon Etude with high difficulty.

Carl Czerny Op.268 Grand Sonate Complete - Martin Jones


Approximate level for who wants to play this Sonata: Slightly more difficult than Liszt's B minor sonata

Carl Czerny—Piano Concertos—Howard Shelley (piano), Tasmanian Symphony Orchestra


NEW! Available from 28 April 2017 on Hyperion Records (Downloads - mp3, ALAC, FLAC / CD) 🤍 The Romantic Piano Concerto Carl Czerny (1791-1857) Piano Concertos Howard Shelley (piano), Tasmanian Symphony Orchestra, Howard Shelley (conductor) Find on iTunes 🤍 Featured extracts Piano Concerto in F major Op 28 [27'03] 1- Allegro maestoso [13'15] Piano Concerto in A minor Op 214 [31'09] 5- Adagio con moto [4'08] Rondo brillant in B flat major Op 233 [14'54] 7- Introduzione: Adagio [3'12] Album also includes Piano Concerto in F major Op 28 [27'03] 2- Andantino alla siciliano con variazioni [5'58] 3- Polonaise: Allegretto vivace [7'50] Piano Concerto in A minor Op 214 [31'09] 4- Allegro moderato [16'04] 6- Rondo: Allegro con anima [10'57] Rondo brillant in B flat major Op 233 [14'54] 8- Rondo: Allegro con garbo [11'42] Recorded in May 2015 Federation Concert Hall, Hobart, Tasmania, Australia Produced by Ben Connellan Engineered by Veronika Vincze

Carl Czerny - Grandes etudes de salon, op. 756


Grandes etudes de salon, 25 Etudes, op. 756 - Public domain score - 1. Molto vivace 0:00 2. Presto 2:00 3. Andantino espressivo 5:01 4. Allegro vivace e piacevole 9:02 5. Andantino con sentimento 11:35 6. Molto vivace 16:46 7. Molto allegro 18:54 8. Allegro comodo e piacevole 22:19 9. Elegie. Andante maestoso 24:46 10. Allegro agitato 27:58 11. Allegro agitato 30:37 12. Allegro 33:13 13. Allegro vivace 34:59 14. Notturnina. Andante espressivo 37:07 15. Scherzo. Allegro giocoso 39:40 16. Allegretto serioso 42:53 17. Molto vivace e giocoso 46:59 18. Marche funebre. Andante maestoso 49:11 19. Allegro vivace 56:03 20. Andante arioso 58:16 21. Allegro con fuoco 1:02:58 22. Allegro 1:05:33 23. Allegro scherzando 1:07:16 24. Allegro 1:09:18 25. Allegro vivace 1:11:18

Fuga in es Opus 31 Carl Czerny


Jaap Zwart speelt op het Batzorgel van de Grote Kerk te Harderwijk de Fuga in es van Carl Czerny Opus 31

Carl Czerny - The School of Velocity. Op. 299, Etude #6 (Beautiful Piano Exercise)


Everybody knows Czerny, right? He was Beethoven's student and Liszt’s teacher and is well known for writing a big number of etudes and exercises. He’s often blamed for his boring, not interesting and not really melodically sounded etudes and exercises. But actually if to play some of them it’s not that hard to find something really worth listening. There are quite a few of Czerny’s etudes and exercises that not only make your piano playing technique better but also can make a good impression on almost any listener, like this Etude #6 from School of Velocity. Based on quickly played passage for the right hand where fourth and fifth fingers are involved the most, it helps to develop strength and endurance for these fingers. There will be more good, beautiful and practical pieces by Czerny played on this channel. - Click the 🔔 to get notified of new videos. - If you like the video, please 👍 it and subscribe to the channel. - I'll be uploading 2 videos a week. - 🌟 What would you like me to play next? - I play piano classical music, orchestral transcriptions and cover songs. #MusicEra, #PianoEtudes, #PianoTechnic, #Czerny, #TheMostBeautifulPianoExercise

Carl Czerny - 100 Progressive Studies, op.139


100 Progressive Studies, op.139 100 studi progressivi, op.139 100 Übungsstücke, op.139 - Public domain score, available on imslp - 1. Moderato 0:00 2. Allegretto 0:22 3. Moderato 0:43 4. Andantino 1:04 5. Allegretto 1:34 6. Allegro vivace 2:04 7. Allegretto 2:31 8. Allegretto con moto 3:01 9. Allegro 3:31 10. Allegro molto 3:46 11. Allegro moderato 4:21 12. Allegro 4:38 13. Allegro 5:04 14. Allegro molto 5:18 15. Allegro moderato 5:35 16. Andantino 6:06 17. Allegretto 6:38 18. Allegretto 6:57 19. Allegro 7:27 20. Moderato 7:54 21. Allegro 8:40 22. Andantino 8:56 23. Andante 9:20 24. Allegro 10:08 25. Allegro 10:28 26. Moderato 11:03 27. Moderato 11:24 28. Allegro vivace 12:02 29. Allegro, quasi presto 12:19 30. Marcia. Allegro maestoso 12:38 31. Allegretto vivace 13:05 32. Allegro moderato 13:28 33. Allegro 13:51 34. Andante espressivo 14:17 35. Allegro moderato 15:37 36. Allegro veloce 16:10 37. Allegro 16:36 38. Allegro 16:58 39. Allegretto vivace 17:22 40. Allegro 18:18 41. Allegro molto 18:40 42. Allegro comodo 19:07 43. Allegro 19:33 44. Allegro moderato 20:03 45. Allegro molto 20:38 46. Allegro 21:15 47. Andantino 21:43 48. Allegro vivo 22:38 49. Moderato 22:55 50. Allegro vivo 23:28 51. Moderato 24:03 52. Moderato à la Marcia 24:55 53. Allegro 25:30 54. Moderato 25:57 55. Vivace 26:31 56. Allegro moderato 26:50 57. Allegro vivace 27:25 58. Allegro 28:08 59. Allegro 28:38 60. Andantino con dolcezza 29:04 61. Allegro 29:55 62. Andantino con moto 30:22 63. Allegretto 30:56 64. Allegretto vivace 31:26 65. Allegro vivo 31:49 66. Lento cantabile 32:23 67. Allegro 33:32 68. Allegro moderato 34:06 69. Moderato 34:47 70. Allegro molto 35:22 71. Allegro vivo e scherzando 35:42 72. Moderato 36:10 73. Moderato, quasi andantino 36:48 74. Allegro moderato 37:29 75. Allegro vivo energico 37:51 76. Allegro 38:16 77. Allegro vivace 38:42 78. Andante espressivo 40:54 79. Andante espressivo 41:48 80. Presto 42:55 81. Allegro vivo 43:34 82. Allegretto moderato 44:39 83. Allegro 45:40 84. Allegretto vivace 46:28 85. Andantino 46:52 86. Allegro vivace 47:42 87. Allegro con moto ed espressivo 48:11 88. Allegro molto 48:37 89. Allegretto 49:07 90. Andantino 49:38 91. Allegro 50:19 92. Andante à la marcia 50:59 93. Andante grazioso ed espressivo 52:19 94. Allegro molto 53:27 95. Allegro vivo 54:24 96. Allegretto 54:51 97. Allegro 55:19 98. Allegro 55:49 99. Allegro molto, quasi presto 56:18 100. Presto 56:42

Carl Czerny - 101 Exercises, Op.261 (part 1 of 5) (nos.1 - 18)


-Note- These recordings have yet to be mastered, and as such, the volume levels aren't true to the actual performed volume. The quiet sections sound far louder than performed volume, and the loud sections sound far softer than the performed volume. Also note that I have the escapement on my piano adjusted in order to produce a 'true' staccato. This can be heard in the staccato sections of the exercises. It also allows for very quick turns. Personally, I love the sound of the quick release, and when I return to a standard Steinway 'D', I find the staccato rather 'wet'. However, such a staccato setup is very unforgiving. Pedal was only used in no.97. Aside from this, no pedal was used at all. All pieces (with the exception of no.97) were performed with a metronome. Repeat signs, in the few pieces that have repeat signs, have been omitted, purely as an issue of time. As far as i'm aware, this is the first ever recording of Czerny's Op.261 in full. If anyone has any information otherwise, do please send me a PM. I'm playing from a very old and rare edition - pianists familiar with the pieces will note differences throughout. For the sake of posterity, i've played according to the edition. I hope this recording in part addresses the generally negative attitude of pianists/musicians towards Czerny. The importance of Czerny - as a teacher and composer - cannot be emphasised enough. His music is far more than 'mere finger bashing' - I find his most inspired moments as good as anything by Mozart, Beethoven, Hummel etc etc. In triple time, Czerny writes beautifully. All that is needed is for a few pianists to make a stand and challenge the stale and archaic view of Czerny as empty note-spinner and very soon opinions will change. Thankfully though, attitudes do seem to be (slowly) changing. Even in this set, a set of exercises no less, there are moments of sublime beauty.

Carl Czerny - Concerto for Piano four hands and Orchestra Op.153


ZATVARANJE KONCERTNE SEZONE NSO 2014/2015; Klavirski duo: Bojan Mladenović / Dragana Đorđević & Niški simfonijski orkestar (Serbia) Dirigent: Luke Cleghorn (Austria) Dvorana NSO, 11.jun 2015.godine

Carl Czerny (1791-1857): Symphony Nº1 in C minor, Op.780


Carl Czerny (1791,Vienna-1857,Vienna): Symphony Nº1 in C minor, Op.780. (performed 1845?, published 1847) I. Allegro agitato e con brio: 00:00 II. Andante sostenuto: 12:50 III. Scherzo. Vivace, presto: 20:45 IV. Finale. Allegro vivace: 27:20 Brandenburgisches Staatsorchester Frankfurt Nikos Athináos More information : 🤍 Picture:Albert Bierstadt(1830-1902):Landscape

Carl Czerny - Fantasia concertante for piano, flute and cello, Op. 256


Fantasia concertante, für Klavier, Flöte und Violoncello in G, Op. 256 A work of chamber music by the very prolific Austrian pianist, composer and pedagogue Carl Czerny (1791-1857), who taught such figures as Theodor Leschetizky, Stephen Heller, Sigismond Thalberg, and of course, Franz Liszt. Chinook Trio

Czerny - Etude ''Ocean Waves'' Op.692 №20 Animated by AI [Concert Creator RTX]


Video created with Concert Creator: 🤍 Czerny - Etude ''Ocean Waves'' Op.692 №20 Animated by AI [Concert Creator RTX] 🎼Czerny - Etude ''Ocean Waves'' Op.692 №20 🎬Animated by A.I. [Concert Creator RTX] 🎹Recording by Artem Gareev 🎧This composition is available on Bandcamp: 🤍 📝Czerny was and is currently one of the most underrated composers. This etude may be a clear proof of that. Yes, not every work by Czerny has a high value, but to consider all of his music as such judging only by some technical etudes is quite primitive. I hope that in the future this situation will improve, and Czerny will be appreciated at his true worth, placing him on a par with his famous students (such as Franz Liszt). 🔑Why I do it, and why exactly: Throughout my interest in classical piano music, as I listen to any piece I like, I look for the best performance for me among a huge number of recordings. What they all have in common is that in one way or another, I hear that a musician who has spent so much time achieving this extreme level of skill still fails to master the music from the first to the last note and doesn't play the way he would like. The same problem plagued me time and time again as a pianist. Being honest with myself, I find that every time I can't perform the music from beginning to end the way I hear it. And for me, the most important thing is the music, how it sounds, not how that sound is achieved. Then I decided to start recording music step by step and edit what was already been recorded but wasn't satisfying. In this work I manage to keep mistakes and inaccuracies to a minimum. Literally - to bring every note, every stroke to the sound that I would like to hear in the end. This work is very similar to what Rachmaninoff, Prokofiev, Medtner, and other outstanding musicians did in the early twentieth century when they recording their piano performances on mechanical ampico piano's rolls (for example, it took Medtner two days to record several pieces and two months to edit the roll; now I can spend a week for all of this work and this is even more than enough sometimes). Concert Creator Playlist - Playlist with My Selected Preludes and One Postlude - 🤍 Chopin: Selected Waltzes - 🤍 My Compositions - 🤍 Playlist with Etudes Op.740 here - 🤍 Chopin: Preludes - 🤍 #cyberpianist #concertcreator #czerny #oceanwaves #op692 #gareev #pianomusic #concertcreatorai #massivetechnologies #rtx

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