What do you think?
Rate this book
Czerny's Letters to Young Ladies on the Art of Playing the Piano Forte
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
- GenresMusic
64 pages, Paperback
First published April 1, 1982
5 people are currently reading
21 people want to read
About the author
Carl Czerny
1,023 books6 followersCarl Czerny (21 February 1791 – 15 July 1857) was an Austrian composer, teacher, and pianist of Czech origin.
As a child prodigy, Czerny began playing piano at age three and composing at age seven. He was one of Ludwig van Beethoven's best-known pupils and would later on be one of the main teachers of Franz Liszt.
As a child prodigy, Czerny began playing piano at age three and composing at age seven. He was one of Ludwig van Beethoven's best-known pupils and would later on be one of the main teachers of Franz Liszt.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 4 of 4 reviews
January 6, 2018
Playing Czerny technique books barely uncovers his personality in an ambiguous way. You'd feel that he has an agitated but mysterious charisma, emitting, more or less, a thick aura of an interestingly dry personnel.
As all apprentices perceive him as a human-monster, or perhaps (in the best case) a patiently rigorous scarecrow, this book will make all his piano exercises assume the melody of a loving father, deeply caring about you, gently boosting you to move forward with his subtle touch, you'd feel that this creepy monotony of these piano movements is suddenly saying heavenly words, something like:
"if you want to obtain something, something of equivalent value must be sacrificed." "every expert was once a beginner."
"The journey of a thousand miles begins with one step."
"Tedious beginnings are inevitable for a shining success."
Alas! we can never forget to mention the special piquancy of his delicate wording, carrying pure and useful advises said by a wise man with a large expertise provided by a long practice.
Useful note while reading: replace Cecil's name with yours, it'll make you feel much warmer.
As all apprentices perceive him as a human-monster, or perhaps (in the best case) a patiently rigorous scarecrow, this book will make all his piano exercises assume the melody of a loving father, deeply caring about you, gently boosting you to move forward with his subtle touch, you'd feel that this creepy monotony of these piano movements is suddenly saying heavenly words, something like:
"if you want to obtain something, something of equivalent value must be sacrificed." "every expert was once a beginner."
"The journey of a thousand miles begins with one step."
"Tedious beginnings are inevitable for a shining success."
Alas! we can never forget to mention the special piquancy of his delicate wording, carrying pure and useful advises said by a wise man with a large expertise provided by a long practice.
Useful note while reading: replace Cecil's name with yours, it'll make you feel much warmer.
May 4, 2023
Letters to a young lady, on the the art of playing pianoforte, from the earliest rudiments to the highest state of cultivation was written as an appendix to every school for that instrument, by Charles Czerny and translated by J. A. Hamilton is a book published in 1851. This is in the public domain and a reproduction of a book from books.google.com. Consider the 77 pages for 10 letters listed here by section title
LETTER I. First Rudiments of the Piano
LETTER II. On Touch, Tone, and the Mode of Treating the Pianoforte
LETTER III. On Time, Subdivision of the Notes, and Fingering
LETTER IV. On Expression, and Graces or Embellishments
LETTER V. Keys, on Studying a Piece , and on Playing in the presence of others
LETTER VI. On the Selection of Compositions most suitable for each Pianist
LETTER VII. Rudiments of Thorough- bass
LETTER VIII . On the Formation of Chords
LETTER IX. Continuation of Thorough- bass
LETTER X. On Extemporaneous Performance
The writing of the expressive communication of the author with translation contained in these ten letters are arranged into a collection of sentences of less than 500 words found in each letter placed into paragraph form and presented with slight modification for the purpose of this book review in and provides examples of the writing stylistics on the topic of music in the year 1851.
“The first principles-knowledge of the keys and the notes are the only really tedious and unpleasant points in learning music. The idea of the form of beauty and effect is produced by a pure, clear, rapid, and strictly equal execution of runs in musical rows of pearls that many great artists are distinguished with peculiar excellence in their performance. The diligent practice of finger-exercises and scales is of the highest importance and provides a quick perception of the different values of the notes made by the practiced eye with rapid and correct execution from a well practiced finger. Pianoforte determination and dedication requires daily, only three hours, of which about half an hour for exercises, playing over the old pieces, and the remaining time to the study of new compositions. Expression, feeling, and sensibility, are the soul of music, as of every other art like the graces, i.e the shake, the turn, the appoggiatura, as the flowers of music and the clear, correct, and delicate execution of them, embellishes and exalts every melody and every passage. You complain that the studying of difficult pieces costs you much time and labor and the remedy against this, the art of studying that I give to you, as far as it can be done in writing. You must not lose sight of the fact that every piece, sonata, a rondo, an air with variations, a fantasia, is also a study in its way to learn from a concerto, or a set of brilliant variations, equally as much advantage in regard to rapidity of finger, or from a sentimental adagio equally as much improvement, in regard to expression, as we can from the practice of any set of studies whatever. Each chord must consist of at least three notes, sounded together. When we strike only two notes together, it is not a chord, but merely an interval. For this reason, intervals are divided into such as are consonant (or agreeable to the ear), and dissonant (or disagreeable to the ear). A general idea of Harmony or Thorough- bass and when you begin the study of it in a regular manner-and I hear with pleasure that you are shortly about to do so, and that your worthy teacher has selected for this purpose the excellent Treatise on Harmony by Reichaall that will serve to facilitate the acquirement of this science. You know that all music may be reduced to simple chords that serve as the ground-work on which to invent and play all sorts of melodies, passages, skips, embellishments. Therefore, exercise yourself cheerfully and courageously in this very honorable branch of the art and if the labor is great, the pleasure and reward which you may gain thereby are still greater.”
This was a quick read along with many notational examples of chord development, progression and melodic intentions in the later letters that can be articulated on the piano for understanding. As a model of translated musical writing in the 1850s, it can provide the writer of music with ideas on futuristic creative writing for this genre. I recommend this book based on its encouragement, musical knowledge, writing models of music and music appreciation for the reader with a love for the art of playing pianoforte.
LETTER I. First Rudiments of the Piano
LETTER II. On Touch, Tone, and the Mode of Treating the Pianoforte
LETTER III. On Time, Subdivision of the Notes, and Fingering
LETTER IV. On Expression, and Graces or Embellishments
LETTER V. Keys, on Studying a Piece , and on Playing in the presence of others
LETTER VI. On the Selection of Compositions most suitable for each Pianist
LETTER VII. Rudiments of Thorough- bass
LETTER VIII . On the Formation of Chords
LETTER IX. Continuation of Thorough- bass
LETTER X. On Extemporaneous Performance
The writing of the expressive communication of the author with translation contained in these ten letters are arranged into a collection of sentences of less than 500 words found in each letter placed into paragraph form and presented with slight modification for the purpose of this book review in and provides examples of the writing stylistics on the topic of music in the year 1851.
“The first principles-knowledge of the keys and the notes are the only really tedious and unpleasant points in learning music. The idea of the form of beauty and effect is produced by a pure, clear, rapid, and strictly equal execution of runs in musical rows of pearls that many great artists are distinguished with peculiar excellence in their performance. The diligent practice of finger-exercises and scales is of the highest importance and provides a quick perception of the different values of the notes made by the practiced eye with rapid and correct execution from a well practiced finger. Pianoforte determination and dedication requires daily, only three hours, of which about half an hour for exercises, playing over the old pieces, and the remaining time to the study of new compositions. Expression, feeling, and sensibility, are the soul of music, as of every other art like the graces, i.e the shake, the turn, the appoggiatura, as the flowers of music and the clear, correct, and delicate execution of them, embellishes and exalts every melody and every passage. You complain that the studying of difficult pieces costs you much time and labor and the remedy against this, the art of studying that I give to you, as far as it can be done in writing. You must not lose sight of the fact that every piece, sonata, a rondo, an air with variations, a fantasia, is also a study in its way to learn from a concerto, or a set of brilliant variations, equally as much advantage in regard to rapidity of finger, or from a sentimental adagio equally as much improvement, in regard to expression, as we can from the practice of any set of studies whatever. Each chord must consist of at least three notes, sounded together. When we strike only two notes together, it is not a chord, but merely an interval. For this reason, intervals are divided into such as are consonant (or agreeable to the ear), and dissonant (or disagreeable to the ear). A general idea of Harmony or Thorough- bass and when you begin the study of it in a regular manner-and I hear with pleasure that you are shortly about to do so, and that your worthy teacher has selected for this purpose the excellent Treatise on Harmony by Reichaall that will serve to facilitate the acquirement of this science. You know that all music may be reduced to simple chords that serve as the ground-work on which to invent and play all sorts of melodies, passages, skips, embellishments. Therefore, exercise yourself cheerfully and courageously in this very honorable branch of the art and if the labor is great, the pleasure and reward which you may gain thereby are still greater.”
This was a quick read along with many notational examples of chord development, progression and melodic intentions in the later letters that can be articulated on the piano for understanding. As a model of translated musical writing in the 1850s, it can provide the writer of music with ideas on futuristic creative writing for this genre. I recommend this book based on its encouragement, musical knowledge, writing models of music and music appreciation for the reader with a love for the art of playing pianoforte.
September 21, 2019
Very interesting book for pianists, young and old, new and experienced.
November 19, 2010
Delizioso. Leggiadro. Altro che i suoi studi per pf.!
Displaying 1 - 4 of 4 reviews