12 results on '"Carl Czerny"'
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2. Beethoven's tempo indications
- Author
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Noorduin, Marten Albert, Cooper, Barry, and Schmidt, Thomas
- Subjects
780.92 ,Ludwig van Beethoven ,Performance Practice ,Nineteenth Century Music ,Carl Czerny ,Ignaz Moscheles ,Karl Holz ,Metronome marks ,Tempo - Abstract
Beethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven’s tempo have typically focussed on works in one particular genre. This thesis overcomes these limitations by incorporating all of Beethoven’s works, and rooting the whole research in a wide variety of sources from the eighteenth and nineteenth century that have a plausible relationship with Beethoven’s practice. In particular the metronome marks by Beethoven, as well as those from his close contemporaries Carl Czerny, Ignaz Moscheles, and Karl Holz, provide great insight into the composer’s sense of tempo. By using as many sources on Beethoven’s tempo as possible, this approach makes reasonable estimations of the actual speeds that Beethoven had in mind for his works. Furthermore, it also allows an exploration of the musical intuitions that are the root cause of these speeds.
- Published
- 2016
3. Multikulturelles Virtuosentum. Schuberts Fantasie C-Dur für Violine und Klavier D 934 (1827)
- Author
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Roberta Vidic
- Subjects
musical form ,musikalische Form ,Franz Schubert ,Carl Czerny ,Fantasie ,fantasy ,Potpourri ,populäre Musik und Kunstmusik ,popular music and art music ,Music and books on Music - Abstract
Die Fantasie für Violine und Klavier D 934 spiegelt den Wiener Multikulturalismus zu Schuberts Zeiten wider. In diesem Beitrag werden formanalytische Ansätze im Spannungsfeld zwischen Kunstmusik und populärer Musik kritisch resümiert, weiterverfolgt und im Kontext verschiedener Kulturen der Violinvirtuosität und der Improvisation betrachtet. Neben Carl Czernys Anleitung zum Fantasieren bietet Franz Grillparzers Novelle Der arme Spielmann eine neue historische Perspektive. // The Fantasy for violin and piano D 934 reflects the Viennese multiculturalism in Schubert’s time. In this article, analytical approaches to musical form at the interface between art music and popular music are critically summed up, further investigated, and considered in context of different cultures of violin virtuosity and improvisation. Alongside Carl Czerny’s Anleitung zum Fantasieren, Franz Grillparzer’s novella Der arme Spielmann offers a new historical point of view.
- Published
- 2018
- Full Text
- View/download PDF
4. Carl Czerny's Mechanical Reproductions.
- Author
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MUSSER, JORDAN
- Subjects
- *
MUSICOLOGY , *EPISTEMICS , *EDUCATION , *PIANO - Abstract
This article reassesses the "mechanical" style of playing featured in Carl Czerny's pedagogical works and keyboard arrangements-specifically, the Complete Theoretical and Practical Piano Forte School, op. 500 (1839), its supplementary text Letters to a Young Lady (ca. 1840), and the four-hand transcription of Beethoven's Symphony no. 9 in D Minor, op. 125 (the "Choral"). The first part of the article situates opus 500 within the larger pedagogical milieu of Biedermeier music culture and Johann Heinrich Pestalozzi's progressivist educational reforms, exploring the way it tasked predominantly women amateurs with assembling basic finger sensations in an exercise-by-exercise-"progressive"-fashion. I propose that this cumulative logic reflects an early-century epistemic norm-what Friedrich Kittler dubs a "mechanical program" of assembly and augmentation. The second part considers Czerny's transcription of the finale of Beethoven's Ninth from the perspective of ludo-musicology and cultural techniques media analysis, outlining the reductive and replicative-"reproductive"-techniques by which Czerny accommodated his former teacher's work to the hands he shaped in the private sphere. I argue that his pedagogies and transcriptions were recursively interrelated. Czerny was simultaneously a mechanic of the hand pedagogically and a mechanical reproducer of symphonies transcriptively, creating a multivalent corpus that forces us to rethink the media-theoretical concept of "mechanical reproduction" vis-à-vis "Discourse Network 1800." [ABSTRACT FROM AUTHOR]
- Published
- 2019
- Full Text
- View/download PDF
5. Praksa klavirskega improviziranja na primeru Czernyjeve razprave Systematische Anleitung zum Fantasieren auf dem Pianoforte
- Author
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Ana Vončina
- Subjects
zgodovina improvizacije ,klavirska improvizacija 19. stoletja ,carl czerny ,estetika improviziranja ,Music ,M1-5000 ,Musical instruction and study ,MT1-960 ,Literature on music ,ML1-3930 - Abstract
Na temelju analize Czernyjeve razprave Systematische Anleitung zum Fantasieren auf dem Pianoforte članek opisuje prakso klavirskega improviziranja v 19. stoletju in podaja vpogled v veščine in vrednote profesionalnih pianistov tistega časa. Analiza razkriva, da so bile za klavirskega improvizatorja 19. stoletja najpomembnejše naslednje lastnosti: tehnična izurjenost in virtuoznost, sposobnost oblikovanja improvizacij v skladu s kompozicijsko tradicijo ter družbena inteligenca, potrebna za sporazumevanje in povezovanje s publiko.
- Published
- 2015
- Full Text
- View/download PDF
6. A Performance Guide to a Forgotten Piece by Carl Czerny: "Fantaisie sur des melodies de Beethoven," Op. 752 (1844)
- Author
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Zhao, Jingshu
- Subjects
- Performance Guide, Carl Czerny, Forgotten Piece, Piano Performance
- Abstract
Carl Czerny (1791-1857) was an Austrian piano teacher, composer, pianist, historian, and theorist, who made many contributions to the musical world. He wrote many pieces of music over the course of his life, the most familiar to us being his exercises. His other types of work are less known and studied nowadays for various reasons. Yet it cannot be denied that Czerny was a very important figure who should not be allowed to fade away. We must delve deeper into his life and uncover more of his pieces, to reveal aspects of his work that are unknown for us. This study concentrates on the forgotten piece Fantaisie sur des mélodies de Beethoven, Op. 752. This is one of the pieces that I included in a World Premiere release recording issued by Toccata Classics. The intent of the program for the recording was to change the traditional concept of Czerny's work and show that his compositions are worth adding to today's recital repertoire. The program included five forgotten pieces by Czerny, of which Op. 752 was the most complicated and virtuosic. The purpose of this study is to analyze the piece and illustrate practicing methods or solutions for the technical challenges of different types that it requires, thus constituting a performance guide. Furthermore, this dissertation also gives suggestions for using the piece in teaching. The aim is to help pianists and teachers to understand and successfully perform the piece on the modern piano. Moreover, I hope that this study will draw more attention to Czerny and inspire others to uncover more of his works.
- Published
- 2023
7. Analysis of Carl Czerny OP.740 'the art of finger dexterity' etudes
- Author
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Bozbey, Onur, Güven, Elif, and Sosyal Bilimler Enstitüsü
- Subjects
Piyano ,Piano Education ,Piyano Eğitimi ,Etüt, Carl Czerny ,Piano ,Carl Czerny ,Etude - Abstract
Balıkesir Üniversitesi, Sosyal Bilimler Enstitüsü, Güzel Sanatlar Eğitimi Ana Bilim Dalı, Etüt çalışmaları, piyano eğitiminde herhangi bir tekniği en etkili öğrenme yöntemlerindendir. Piyano eğitiminde etüt denilince akla gelen en önemli isimlerden birisi Carl Czerny ve etütleridir. Türkiye’de piyano eğitimi veren güzel sanatlar liseleri, konservatuarlar, eğitim fakülteleri müzik eğitimi bölümleri gibi kurumlarda Carl Czerny’nin başlangıç seviyesinde sayılabilecek bazı etütleri yaygın olarak öğretilir. Genellikle daha detaylı ve karmaşık etütleri öğretilmez, çalınmaz ya da bu etütler çoğu eğitmen ve öğrenci tarafından da tanınmamaktadır. Bu çalışmanın amacı Carl Czerny’nin başlangıç seviyesindeki etütleri yanında az tanınan, karmaşık, uzun ve “ustalık” seviyesinde sayılabilecek etütlerini tanıtmaktır. Betimsel tarama modelinde desenlenen çalışmada veriler doküman incelemesi yöntemiyle toplanmıştır. Elde edilen veriler doküman analizi yöntemi ile analiz edilmiştir. Çalışma kapsamında öncelikle Carl Czerny’nin etütleri genel olarak ele alınmıştır. Bu bağlamda ilk olarak başlangıç seviyesindeki, “kolay” sayılabilecek etütleri ile beraber biraz daha az tanınan ustalık seviyesine kadar olan bütün metotları tanıtılmıştır. Çalışmanın bir sonraki adımında, içerdiği zor ve karmaşık teknik yapılar ve müzikal fikirler gözetilerek seçilen Op.740 metodu detaylı olarak form yapısı, müzikal fikirleri ve teknik yönleri ile incelenmiştir. Ardından her bir etüdün hangi amaçla, hangi form ve hangi müzikal fikir ile sunulduğu teker teker açıklanmıştır. Araştırma sonucunda Czenry etütlerin başlangıçtan ustalık seviyesine kadar öğrencilerin veya usta icracıların her zaman ve her seviyede yararlanabileceği, içinde çok sayıda karmaşık teknik hareketler bulunan kaynaklar olduğu görülmektedir. Op. 740 “The Art of Finger Dexterity” metodu incelendiğinde ise, kitapta yer alan etütlerin teknik ve müzikal olarak oldukça zengin bir yapıya sahip olduğu belirlenmiştir. Tek bölmeli şarkı formuna sahip iki etüt dışında tüm etütlerde yoğun bir müzikal fikir vardır. Kitapta yer alan etütlerin büyük çoğunluğu majör tonlarda, basit ölçü birimlerinde ve ABA üçlü formda yazılmıştır. Etütler çok çeşitli teknik yapılar içermektedir. Bu teknik yapılar içerisinde en sık kullanılan arpej tekniğidir. Bu çalışmanın Carl Czerny’nin yaygın olarak çalışılan “basit” etütlerinin dışında zor ve karmaşık etütlerinin de çalışılması konusunda istekli olan eğitmen ve öğrenciler için rehber görevi göreceği düşünülmektedir., Etudes are one of the most efficient learning methods to acquire any technique in piano education. When it comes to the etudes in piano education, Carl Czerny and his etudes are one of the most significant names that spring to mind. Carl Czerny’s beginner level etudes are taught in the institutions such as the fine arts high schools, conservatoires and departments of music education that give piano education. However, his more complicated and detailed etudes are not taught, played or these etudes are not known by most of the educators and students. The aim of this study is to introduce Carl Czerny’s complicated, long and ‘’mastery’’ level etudes along with his beginner level etudes. In the study, which was designed in descriptive scanning model, the data were collected by document review method. The obtained data were analyzed by document analysis method. Within the scope of the study, primarily, Carl Czerny's etudes are discussed in general. In this sense, all of his etudes are introduced from the etudes which can be considered ‘’easy’’ at the beginner level up to the slightly less known mastery level. In the next step of the study, the Op.740 method, which was chosen by considering the difficult and complex technical structures and musical ideas it contains, was examined in detail with its form structure, musical ideas and technical aspects. Then, each of the etudes was explained in terms of their aim, form and musical ideas respectively. As a result of the research, it is seen that Czenry etudes are resources with many complex technical movements that students or master performers can benefit from at all times and at all levels, from beginner to mastery level. When the "The Art of Finger Dexterity" method is examined, it has been determined that the etudes in the book have a very rich structure technically and musically. Except for the two etudes which have unitary form, all etudes have an intense musical idea. Most of the etudes in the book are written in major tones, simple time signatures and ABA ternary form. Etudes include a wide variety of technical structures. Among them, the most commonly used arpeggio technique. It is thought that this study will serve as a guide for educators and students who are willing to study the difficult and complex studies of Carl Czerny, apart from his widely studied simple etudes.
- Published
- 2022
8. Harmonik und Aufführungspraxis
- Author
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Hubert Moßburger
- Subjects
Aufführungspraxis ,Carl Czerny ,Jean-Philippe Rameau ,Harmonik ,Metrik ,Moritz Hauptmann ,Carl Philipp Emanuel Bach ,Hugo Riemann ,harmonic ,Daniel Gottlob Türk ,Johann Joachim Quantz ,Sixte ajoutée ,Johannes de Garlandia ,Halbtonanschluss ,Dreiklang ,triad ,Ernst Krenek ,Enharmonik ,Motivik ,enharmonic ,Alfred Brendel ,metre ,Music and books on Music - Abstract
Wie lässt sich Harmonik aufführungspraktisch interpretieren? Diese Frage erscheint ungewohnt, sind es doch vorherrschend andere musikalische Parameter, welchen aufführungspraktische Relevanz beigemessen wird: dem Rhythmisch-Metrischen hinsichtlich Agogik und Akzentuierung, dem Melodischen im Hinblick auf Dynamik und der formalen Gliederung bezüglich Artikulation und Phrasierung. Als Gründe für die Vernachlässigung der Harmonik als Faktor der Aufführungspraxis mögen gelten: erstens, dass die Harmonik im wahrnehmungsästhetischen Hintergrund als logisch-zusammenhangstiftendes Prinzip wirkt, und zweitens der Rückgang der improvisatorischen Anteile der Komposition (Ornamentik) ab 1800; zudem schränkten die sich im Laufe des 19. Jahrhunderts immer dichter über den Tonsatz ausbreitenden Vortragsbezeichnungen den Interpreten in seiner Gestaltungsfreiheit ein. Dennoch kommt der Harmonik in fast allen Vortragslehren des 18. und 19. Jahrhunderts (Quantz, Bach, Türk, Czerny, Riemann) noch zentrale Bedeutung für die Aufführungspraxis zu. Auf Grundlage dieser Quellen werden folgende Kriterien für die Interpretation von Harmonik zusammengestellt, in ihrem geschichtlichen Wandel untersucht und an Literaturbeispielen belegt: Konsonanz-Dissonanz, Chromatik (tonartfremde Klänge), Enharmonik, Akkordprogression und Modulation. Als musikalische Gestaltungsmittel dieser fünf Interpretationsaspekte stehen Dynamik, Gewichtung (ganzer Akkorde, aber auch von Einzeltönen), Agogik, Intonation und Farbgebung zur Verfügung. Vor dem Hintergrund der Tatsache, dass Harmonik nur ein Teilmoment von Musik ist, das in Wechselwirkung zu anderen Parametern steht, muss sich der Interpret seiner Aufgabe, einen Zusammenhang zwischen den verschiedenen musikalischen Faktoren herzustellen, umso bewusster sein. Dass aber Harmonik selbst schon komponierte Interpretation (z.B. einer Melodie) ist, nimmt den Interpreten nicht nur in die Pflicht, sondern lädt ihn auch ein zu einer spannenden Entdeckungsreise durch die fantastischen Interpretationsmöglichkeiten musikalischer Komposition.
- Published
- 2009
- Full Text
- View/download PDF
9. Le tempo dans l’histoire de la théorie musicale allemande au XIXe siècle
- Author
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Matthieu Cailliez, Institut d’Histoire des Représentations et des Idées dans les Modernités (IHRIM), École normale supérieure - Lyon (ENS Lyon)-Université Lumière - Lyon 2 (UL2)-Université Jean Moulin - Lyon 3 (UJML), Université de Lyon-Université de Lyon-Université Blaise Pascal - Clermont-Ferrand 2 (UBP)-Université Jean Monnet [Saint-Étienne] (UJM)-Centre National de la Recherche Scientifique (CNRS)-Université Clermont Auvergne (UCA), Claude Abromont, Séverine Féron, Philippe Lalitte (dir.), École normale supérieure de Lyon (ENS de Lyon)-Université Lumière - Lyon 2 (UL2)-Université Jean Moulin - Lyon 3 (UJML), Université de Lyon-Université de Lyon-Université Blaise Pascal - Clermont-Ferrand 2 (UBP)-Université Jean Monnet - Saint-Étienne (UJM)-Centre National de la Recherche Scientifique (CNRS)-Université Clermont Auvergne (UCA), Cailliez, Matthieu, and Claude Abromont, Séverine Féron, Philippe Lalitte (dir.)
- Subjects
August Reissmann ,[SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts ,dictionnaires de musique ,Allgemeine musikalische Zeitung ,Gustav Schilling ,August Gathy ,Carl Maria von Weber ,Richard Wagner ,Johann Ernst Häuser ,Carl Czerny ,[SHS.MUSIQ] Humanities and Social Sciences/Musicology and performing arts ,Ignaz Jeitteles ,métronome ,théorie musicale allemande ,Johann Nepomuk Hummel ,rubato ,Heinrich Christoph Koch ,Hermann Mendel ,Neue Zeitschrift für Musik ,Hugo Riemann ,encyclopédies musicales ,Georg Friedrich Wolf - Abstract
International audience; Cet article présente une étude du "tempo" et de l’ensemble des termes liés à cette notion en allemand au XIXe siècle, basée sur le dépouillement d’une dizaine de périodiques musicaux publiés à Leipzig, Vienne, Berlin, Mayence et Cologne entre 1798 et 1914, et d’une vingtaine de dictionnaires de musique et d’encyclopédies musicales de langue allemande édités entre 1802 et 1900. Divisée en cinq parties, cette étude s’intéresse dans un premier temps aux différentes définitions du mot tempo, à la coexistence des terminologies italienne et allemande au sein de son champ lexical – les termes italiens cédant progressivement la place à ceux allemands dans les partitions composées par Beethoven, Schumann, Wagner et leurs contemporains –, ainsi qu’à la notion de "tempo rubato". Dans un second temps sont abordées l’invention du métronome et sa diffusion à partir de 1815, à travers l’utilisation de plus en plus répandue d’indications métronomiques par les compositeurs, chanteurs, instrumentistes, chefs d’orchestre et critiques musicaux. Les troisième et quatrième parties sont consacrées à la question polémique du juste tempo dans l’interprétation de la musique ancienne et dans celle des œuvres de Beethoven, laquelle est l’objet d’une riche littérature théorique et critique s’étendant sur plusieurs décennies. L’essai "Ueber das Dirigiren" (1869) de Richard Wagner est le thème de la dernière partie de cet article.
- Published
- 2021
10. Das Bekannte neu gestalten. Carl Czernys 'Drey brillante Fantasien über die beliebtesten Motive aus Franz Schubert’s Werken, op. 339'
- Author
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Carone, Angela
- Subjects
fantasia per pianoforte ,Settore L-ART/07 - MUSICOLOGIA E STORIA DELLA MUSICA ,Franz Schubert ,Lieder ,Carl Czerny - Published
- 2015
11. Liszt am Klavier (Vienne, 1840) : Josef Danhauser et la construction d'un archétype de salon parisien
- Author
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Gétreau, Florence, Institut de Recherche en Musicologie (IReMus), Université Paris-Sorbonne (UP4)-Bibliothèque nationale de France (BnF)-Ministère de la Culture et de la Communication (MCC)-Centre National de la Recherche Scientifique (CNRS), Fondation Medici Giulini (Briosco) - Centro Studi Opera Omnia Luigi Boccherini (Lucca) - Fondation Bru Zane (Venise), Fulvia Morabito, Roberto Illiano, and Gétreau, Florence
- Subjects
Josef Danhauser ,Ignaz Franz Castelli ,Marie Christine Caroline d’Orléans ,Pierre-Joseph-Guillaume Zimmermann ,Conrad Graf ,George Sand ,Ludwig van Beethoven ,Gioachino Rossini ,Henri de Montaut ,George Gordon Byron ,Henri Herz ,[SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts ,Teofil Kwiatkowski ,Julius Schmid ,Achille Devéria ,Jeanne d’Arc ,[SHS.ART]Humanities and Social Sciences/Art and art history ,Prosper Lafaye ,Moritz von Schwind ,Carl Czerny ,Victor Hugo ,[SHS.MUSIQ] Humanities and Social Sciences/Musicology and performing arts ,Josef Kriehuber ,[SHS.ART] Humanities and Social Sciences/Art and art history ,Marie d’Agoult ,Franz Liszt ,Alexandre Dumas père Nicolo Paganini - Abstract
International audience; Cette contribution est consacrée à un tableau extrêmement connu de Josef Danhauser (1805-1845), Liszt am Klavier, exécuté à Vienne en 1840 à la demande du facteur de pianos Conrad Graf. Il célèbre Franz Liszt comme pianiste et compositeur, met en évidence un cénacle d’artistes qui accompagna avec ferveur ses débuts parisiens et symbolise aussi deux capitales d’où Liszt rayonna pendant sa « période de pérégrinations », entre 1838 et 1847. Après avoir évoqué le thème iconographique de l’assemblée privée autour du piano dans les salons parisiens sous la Monarchie de Juillet, nous montrons tout d’abord comment Danhauser, en concevant ce salon idéal, parisien par ses protagonistes mais viennois par ses allusions musicales, n’eut cependant probablement pas de modèle préétabli. Nous replaçons cet acte promotionnel de la firme de pianos la plus en vue dans la Vienne des années 30-40 dans le contexte des concerts viennois de Liszt. Partant de l’article de la Wiener Zeitung qui décrivit le tableau en détail au moment de sa présentation publique dans l’atelier du peintre en mai 1840 et de sa réception parfois emprunte de partis pris nationalistes dans la presse viennoise après qu’il fut exposé un an plus tard, nous précisons la genèse de sa composition (les estampes ayant probablement servi d’inspiration au peintre afin d’approcher la véracité des portraits, les esquisses dessinées préparatoires). Nous soulignons enfin comment cet archétype ouvrit la voie à d’autres compositions, celles notamment de Josef Kriehuber, de Moritz von Schwind et de Julius Schmid, et comment il contribua au développement d’un topos visuel viennois « autour du piano ».
- Published
- 2011
12. An Underestimated Master: A Critical Analysis of Carl Czerny's Eleven Piano Sonatas and his Contribution to the Genre
- Author
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Larson, Levi Keith
- Subjects
- Piano, Carl Czerny, Sonata, Beethoven, Liszt, piano cycle, Music Performance
- Abstract
Carl Czerny is unquestionably a well-known figure in the history of nineteenth-century pianism. He was a pupil of the great Beethoven, and later taught young Franz Liszt, thereby initiating a pedagogical lineage that continues to this day. Czerny’s pedagogical material is still relevant to contemporary piano education, and many of his treatises are valuable resources for understanding Classical and early Romantic musical culture. Although Czerny is known for being an accomplished piano teacher, he was also a highly prolific composer. His oeuvre totals 861 opus numbers, many of which contain multiple pieces. Czerny also penned a variety of compositions that did not receive opus numbers. Aside from his etudes and pedagogical treatises, Czerny’s reputation as a composer was centered on his opera fantasies and potpourris, for which he gained favor with the public and disdain from music critics. Robert Schumann wrote many scathing remarks about Czerny’s music in the Neue Zeitschrift fur Musik; other composers, including Chopin and Liszt, respected Czerny as a musician but rarely said favorable things about his music. While Czerny’s output does include trite pieces of shallow virtuosity, it also contains substantial works of careful craftsmanship, such as his eleven masterful piano sonatas. This document focuses primarily on the eleven piano sonatas, with special attention given to form and the holistic structure of the eleven sonata cycle. A deeper understanding of the composer’s particular genius will emerge through discussion of his use of form, harmony, and texture in his sonatas, and a compelling argument will be made for burnishing his reputation. A movement devoted to the promotion of Czerny’s music is already in progress, thanks to the efforts of the Carl Czerny blog, Basel-Classics releasing new editions of his works, and the Carl Czerny Festival held at the University of Alberta in Edmonton, Canada in 2002. This research will contribute to the ongoing campaign to recognize the significance and quality of the previously undervalued music of Carl Czerny. Advisor: Mark Clinton
- Published
- 2015
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