• rudyapffel-czerny

Czerny Op 740, #18, 2 Versions

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,” and it’s quite attractive. Generally I try for a hushed character and downplay the urgency of the B section (f minor), but it depends on the piano I’m playing.


Op 740 #18, 1st Version: Fondus, 8 sets of 8

Op 740 #18, 1st Version Audio

This is my performance of #18 shaped into ternary form and intended for fondus at the barre, one count per measure (“one and, two and...”). I play Czerny’s mm 1-48 then repeat his mm 17-32 with a final cadence.


With its gentle swirl and sonorousness #18 can make a lovely Adagio, but it should probably be slower for the typical 4/4 Adagio--the quarter @75, or so--and that makes the arpeggiation a bit stark.


Op 740 #18, 2nd Version: 4/4 Adagio, 8 sets of 8

Op 740 #18, 2nd Version Audio

This is my performance of my 1st Version of #18 projected as an Adagio or Port de Bras. At the slower Adagio tempo Czerny’s arpeggios lose their swirl and undulation. To manage this problem I recast the material in 6/8, rebeaming Czerny’s 16th triplets as regular 16ths and each pair of 8ths as quarter + 8th. I use a great deal of rubato, lingering on the bottom and top notes and rushing the ascent and descent.


4 views

Recent Posts

See All

Czerny Op 740 #16, 2 Versions

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 instantly engaging with it’s sunny exuberance.

Czerny Op 740 #17, 5 Versions

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 an obvious shortcut arrangement that uses

Czerny Op 740 #19, 2 Versions

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 unlikely to be called for. But each measure of #1