• rudyapffel-czerny

Czerny Op 740 #26, Single Version

I’ve tried to bring into focus a musical “type” among Czerny’s studies that I think of as “gesture” rather than “texture,” and I’ve tried to lay out my ideas in other commentaries (#'s 13, 15, 46, 48). I think of #26 as yet another type, as “declamation,” and I must apologize for my inability to bring much conceptual precision to what I mean. However, I think any musician will understand what I’m getting at and why such intellectual categorization can be a useful way to approach certain of Czerny’s studies for ballet class, as well as understand their peculiar aesthetic effect as music independent of ballet class.

Anyway, the first 16 bars of this declamatory study make an excellent one-pager for fondus, but you’d have to repeat it for two sides of a typical combination and the harmonic banality of Czerny’s opening material doesn’t wear well with repetition. That’s why it’s best to make use also of Czerny’s very interesting B section (mm 17-27).

Op 740 #26, Single Version: heavy Fondus, 8 sets of 8

Op 740 #26, Single Version Audio

This is my performance of the first two pages (mm 1-24) of #26, trimmed and squared off. I create a turnaround at m 23 (modelled on m 27) that allows me to repeat mm 9-16 with a final cadence.


Recent Posts

See All

Czerny Op 740 #42, 3 Versions

There’s a lot to recommend #42 to a ballet accompanist. If you fill out Czerny’s LH with a light waltz accompaniment it makes a solid petit allegro 6/8. It’s effective at much slower tempos, at which

Czerny Op 740 #43, 5 Versions

I can get Czerny’s arpeggiation up to around the quarter @90, and mm 1-16 with repeats make a lovely short Adagio (2 sets of 8 on each side) in binary form. It’s notey and rather robust, and Czerny is

Czerny Op 740 #44, 4 Versions

I love the sparkle of Czerny’s note pattern here, and the music remains quite effective with the metronome at 100 rather than his 120. Limiting myself to a one-pager, mm 1-24 are easily shaped into a