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Czerny Op 335 #35, 3 Versions

Updated: Mar 22, 2019

This is another of Czerny’s studies with RH melodic material in airy 16th’s and a LH 8th-note stride accompaniment, whose skipping gaiety fits the lighter 2/4 musicality of tendu-jete-degage, but is so fast (the quarter @126) that music and personality are considerably restricted. At Czerny’s speed #35 might suit frappes, but the technique called for in the B section will require a great investment of time to master (for most of us non-virtuosi). On the other hand at a slower tempo #35 is quickly mastered, and you’ll get a lot of use from it. Riisager’s colorful arrangement (Etudes, #8 “Releves”) is played at about the quarter @70.

A very appealing feature of #35 is that slower tempos bring out different characters, all of them well suited for different sorts of combinations in ballet class. I play the piece in a range of the quarter @70-110. At the fast end of the range the music sounds rather comically manic, at the slower end it has insouciance and swagger.


Op 335 #35, 1st Version: light, ambling 2/4, 8 sets of 8-count phrases

Op 335 #35 1st Version Audio

This is my performance of Czerny’s piece as written, but with the quarter @90. I’ve tried to soften somewhat Czerny’s hard-edge: cadences are lengthened, a bit of rubato is introduced, step-wise lines are a little less staccato.


Op 335 #35, 2nd Version: “The Lonely Goatherd” in the manner of Czerny’s Op 335 #35, 8 sets of 8-count phrases

Op 335 #35 2nd Version Audio

I’ve described in my commentary to #33 the idea of a Czerny study as a ”manner” or “costume” for a familiar melody. My 2nd Version of #35 is my performance of Richard Rodgers’ “The Lonely Goatherd” (for which I have secured licensing) in the garb of Czerny’s study. I’ve slowed the tempo to the quarter @70. I provide a score.

Op 335 #35 2nd Version Score


Op 335 #35, 3rd Version: “The Lonely Goatherd” in the manner of Czerny’s Op 335 #35, 16 sets of 8-count phrases

Op 335 #35 3rd Version Audio

This is an idealization of #34. Realized with DAW software, countermelodies and enhancements are introduced, along with a polyphonic rendering of the Rodgers tune in the repeat.

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