This delightful study is in the character I’ve come to think of as “Czerny-happiness,” a kind of Bournonville-for-piano that is unique to its creator and ins...

At first #17 didn’t seem to me to have much to recommend itself except that in a collection of mostly quite difficult studies it’s rather easy, especially in...

As written, and a bit under Czerny’s tempo, #18 is muscular fondu music (one count per bar). You can muffle and undulate it or play it rather dry and “vivace...

In ballet class a measure of 3/4 is usually counted as a single count in a combination. Even if you can get to Czerny’s speed, #19’s slow 3/4 count is unlike...

Czerny’s regular phrase lengths and cadences in the tonic make #20 a ready-made one-pager: just play mm 1-32. But it would be well to make use of the LH mate...

When Czerny has the hands move in parallel with the same note values my strategy is to have the hands trade off: one hand plays the note pattern, the other p...

In my opinion, only if you can get at or near Czerny’s tempo can you keep #22 from sounding trite. It’s musical ideas are so slight that the interest is inev...

The first 32 measures of #23 make a stand-alone piece well suited to ballet class across a range of tempos, and not particularly difficult. Op 740 #23, 1st V...

Czerny’s researches into different note patterns and their sonorities on the piano led to the particularly happy device of #24: the RH playing an off-accent ...

This study well exemplifies the “working” hand/ “supporting” hand contrast in Czerny’s compositional process. You can project it lightly and fleetingly with ...

As noted elsewhere in my commentaries, a teacher may set a combination in a very slow three with each beat subdivided, amounting to a 3/2, but that’s rare. I...