50 Selected Piano-Studies

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5/126

/./

SCHIRMER'S

LIBRARY

OF MUSICAL

CLASSICS

Jean

Baptiste

Cramer

Fifty

Selected

Piano-Studies

Systematically Arranged,

Fingering

and

Expression-Marks

Critically

Revised,

i

and

Provided

with Instructive Notes

by

DR.

HANS VON BULOW

Tronslotions by

ALBERT R.

PARSONS

and

B.

BOEKELMAN

Newly

Revised

by

DR.

THEODORE BAKER

IN

FOUR

BOOKS

(Also

in

One

Book

Complete)

Book

i

(Nos.

1-12) Library

Vol. 828

Book

II

(Nos. 13-25)

-

Library

Vol.

829

Book III

(Nos. 26-38)

Library Vol.

830

Book

IV (Nos.

39-50)

Library Vol.

831

(Complete)

Library

Vol. 827

G.

SCHIRMER Neu;

York/

London

Copyright,

1899,

by

G.

Schirmer,

Inc.

Copyright renewal

assigned,

1927,

to

G.

Schirmer,

Inc.

Printed

in

l)t^crra)U'e

of

a

svstt'iJiatic succession. Such

an one

was

not,

at least consistently, carried out by

the

author.

Moreover,

in

the

English

edition, the succession

of

the

numbers

differs from that

in

the

German. The

first-

named

edition,

which lay

before

us

in

our

work,

and,

indeed, as

represented

by

a

revisional

copy

provided

v,-ith

corrections

in

Cramer's

own

handwriting

(this

copy,

belonging

to

Mr.

Spitzweg. at

that

time at the

head of

the

publishing

house

of

Aibl,

served

as

the

standard

for

determining

exactly all signs of

time and

expression),

also

.contains

the sixteen studies supplementally

issued

in

Vienna

(surreptitiously

in

Hamburg),

which

have

been

comparatively

but

little

disseminated,

and the

chief

pur-

pose of which, evidently, was only

to

make

up the

ceremonial number

of

100. Accordingly,

their

non-con-

sideration

in the present edition

was

not prompted

solely

by their

character

of a private

domain.

For our attempt

to

remedy

this evil,

no

claim

is laid

to

absolute

approval,

since

individual

considerations

will

always play

a certain

role

in

instruction,

if the

teacher's

conception

of his

task

be not

bureaucratic.

A

second

chief c.iuse

of

the

qualita-

tive

resultlessness of

the study of Cramer's

Etudes

is

to

be found

in their over-gre.it

quantity.

The same

consid-

eration

in the c.ise

of

Clementi's

Gradus

ad

Parnassum

has

recently

induced the Court-pianist

to the

King

of

Prussia.

Mr.

Carl

Tausig, to edit

an anthology

of

that

work,

accompanied with valuable directions

for their

correct

practice, which is published

in

Berlin

by Bahn

(Trautwcin's), and

the adoption

of which, on the

part

of

all intelligent

pianoforte-teachers,

is

to be recommended.

With

correct

tact,

Mr.

Tausig

has eliminated

the

intrin-

sically

very

valuable pieces

in the

severe contrapuntal

style; for

the pianoforte-fugues and canons

of Clementi,

f.ir

from

offering

a fit means of

preparation

for

the Well-

tempered

Clavichord

of Bach, are

more

likely

to hinder

the player

by

leading

to

bad

habits.

For

Bach-playing

demands

preliminary studies which

must

be

sought only

in

other compositions by

that master

himself

with,

perhaps,

the

anticipation

of

pieces

by

Handel.* In

prepar-

ing

this

edition of Cramer,

all

pieces for practice in

which

no

perfectly definite

mechanical

end was pursued

have

been

similarly

culled

and

disposed

of

Perhaps

we may

even

*

As there.was once,

in

Florence

and at other Italian

universities,

a

Uante

f.iculty

(Boccaccio

was the

first

occupant of

this ch.iir of

instruc-

tion), the

members

of

which

confined their philologic.il

labors

simply

to

the enigma of

tiiis

mighty

sphinx,

so

there

might be

in

place,

in

high

schools of music, a

similar

specializ.ition

of the

stuily

of

tiie

German

intel-

lectual

giant in

tones.

Bach,

who

is

comparable

to

a Danle

only.

To

play

Bach

beautifully

and with

finish

is a

task which

the

necessary

cerebral

conditions

abstracted

is only to be

demanded

from

those pian-

ists

who

h.ive

attained

complete mastery

over

the

material, and

who

also,

for

example, no

longer

brokenly

stumble through

Beethoven's

last piano-

forte-sonatas.

Whither attempts to

assimil.ite

the

works

of

Bach

from

the

standpoint of the

pianoforte-chair

specifically

tend,

is most

alarmingly

shown

by

Czerny's

celebrated

edition

of them,

the

transitory,

merit o'

which

we

would

not

question,

but against

an uncritical

use of

which

aN

emphatic

warning must be

given

in

the interest

of a

true

understanding

o(

Bach.

Moreovei,

with

the

above

remark,

it is not

intended to

say

that

the

introduction to the

playing of B.ich (preludes

and

inventions)

may

not,

according

to

individual

data, begin even

simultaneously

with

tilt

study of

Cramer's Etudes.

ITM

I

MJNERAL

itBRARY

Of

THE

PERFORMING

lit

AMSTERDAM

AVENUE


8/126

Fe

reproached

for

not

havirii^

proceeded

radically enough

and

for

having

given

too

much space to

repeated

repre-

sentations

of

that

which is

homogeneous.

To

this it

might

be

replied,

that

practical

e.xperience

demonstrates

the

ad-

vantage

of

such

readings.

Precisely

in

connection

with

the

necessity

of

acquiring

bv

pcrsevera'nce

any

special

kind

of

mechanical

expertness,

the

charm of

a certain

variety

in

homogeneity tends

to

refresh

and

stim'jlate.

on

the one

hand, and on

the

other to

promote

and deter-

mine,

and also,

occasionally,

as a

counter-experiment, to

instruct.

After several

homogeneous

exercises

only,

the

player

should always revert,

in

recapitulation,

to the

first

of

them. Respecting a

few

other

studies,

of which

the

mechanical

end is perhaps

still more

systematically devel-

oped

in

dementi's Gradus

coupled,

to

be

sure, with

greater

difficulties

it

may

be

remarked,

that

in

a

regu-

larly graded succession of

those

collections

of

studies

which

are

to be

employed

for complete

cultivation in

pianoforte-plaving.

J.

6. Cramer is

the

forerunner

of

Clementi. In this connection,

perhaps, it

may

not

be

unwelcome

to

pianoforte-teachers to see

indicated the

course of

mechanical study

which

the

undersigned

has

found approved

in his practice

as a

teacher.

The course

in

question

comprises

all the

studies, from

those

of

the

beginner

to

those

of

the

virtuoso.

After the

first rudiments have been

mastered, for

which

purpose

the

first

part

of

the

pianoforte-method of

Lebert-

St4

\k is most

to

be

recommended

as,

to

the best of

our

knowledge,

the most

substantial

help,

the following

are

in place:

\.

a.

The studies of

Ai.oys

Schmitt, Op.

i6, together

with

the

Exercices

Prep.iratoires

,

always

to be

prac-

tised in

all

twelve

keys

which form

the introduction

to the

first

book.

It

is

worthy of

mention that Felix

Mendelssohn-Bartholdy,

who was

an eminent master as

pianist also, laid

with

this

work

the

foundation

of his

classical technique.

h. in

contrast

to

the relative

dryness

of

Schmitt, a col-

lateral

use

of Stephen Heller,

Op.

45.

II. a.

J.

B.

Cramers

studies.

b.

St.

Heller: Op.

46

and

47.

c.

C.

Czerny: Daily Exercises;

likewise his

collection

of

studies,

entitled

the

Method

of Legato and

Staccato

(Die

Schule

des

Legato

und Staccato),

which,

strangely

enough,

has not hitherto

received

that notice

which

it

merits.

ill. a. Clementi;

Gradus

ad

Parnassum

'

(selection

and

elaboration

by

C.

Tausig).

b.

MoscHELEs:

Op.

70.

24

studies; a work more

widely disseminated

in North

than

in South

Germany,

which

unconditionally

deserves

the

predicate

classic '

I

v.

a.

Henselt:

Selected

studies from

Op. 2 and

s-

b. Together

with,

and

as preparatory

to

these,

Haber-

bier:

Etudes-Poesies ;

a kind of continuation of

St.

Heller.

c.

Selected

pieces

by

Moscheles:

Characteristic

stud-

ies

(Charakteristische

Studien).

Op.

qs.

V.

Chopin:

Op.

10

and

2s,

with which in.iy

be

asso-

ciated

the

study

of

the single

Preludes (of

a

special

mechanical

tendency)

from

his

Op.

28.

VI. Liszt:

Six

Etudes after

Paganini;

three

Concert-

Etudes; twelve

grand

Etudes,

d'execution

transcen-

dante.

VII.

a. Rubinstein:

Selected

Etudes

and

preludes.

b.

V.

C.

Alkan:

Selections

from

his

twelve

grand

Etudes;

for

the

most

part more

difficult

than

any

of

the

aforenamed.

Simultaneously

with

entering

upon

stage

III.,

Theodor

Kullak's

Method

of

Octaves

(in three

parts)

should

be

attacked

and

prosecuted

without

haste,

but

also

without

interruption.

This

extremely

meritorious

special

work

is,

in our

opinion,

irreplaceable,

and

it

most

justly

claims

the

frequently

misused

title,

indispensable

du

pianiste .

To

reter

here

to other

specialties of a

subordinate

n.iture.

/or

purely mechanical

ends,

would

extend

this

preface

toe

far.

Finally,

a

third

circumstance

might

be

mentioned

in

justification

of

OLir instructive

edition,

and,

indeed,

the

one

which

seems

to

us

weightiest

of

all.

It

relates

to

the

directions

for the

application

of

the

fingers,

which,

being

doled

out

by

the

author

with a sparingness

only

pro-

portiona*,?

to

their

want

of

consistency,

were

in

need

alike

of

augmentation and

alteration, in

order

to

help

the

performer

to attain

the

purposed

mechanical

aim.

In

order

to prevent

misinterpretation, we

will elucidate

more particularly

this

apparently

irreverent reproach

against

J.

B.

Cramer.

His labors fell

on

the

boundary-

line between

the earlier and

later periods of

pianoforte-

playing, of which

the latter,

keeping pace

with

the

increasing

perfection

of the

instrument,

and the

enhanced

demands resulting

from it upon the performers

powers

of

execution,

has,

in course of time, arrived at

a system

of fingering in

many

respects diametrically

opposed to

the former.

As

the chief

mechanical

difficulty

in piano-

forte-playing,

we now

lay

stress

upon the unevenness,

resulting

from the

local

relations

of bl.ick and white

keys,

of the field forming

the

scene

of action for the performer's

fingers. Our aim.

therefore,

is

chietly

directed to

render-

ing

the fingers

independent

of

that

unevenness,

and,

by

means

of protracted

gymnastic

exercise,

to

enable them

to

move

about

on the

black

kevs

in a manner as light,

free,

secure, and distinct as

when

on

white keys, and

without

stumbling in any combination

whatsoever of

white

and

black.

According to the

perhaps

somewhat venturesome

opinion

of the

editor, that

is

the best fingering which

permits

the

performer,

without

mechanical

preparation,

and without previously

t

iking pains

to

deliberate,

to

transpose a

given

pianoforte-piece

to anv

key

he may

choose; a modern virtuoso

of the

genuine

calibre

must

be

able

to

perform

Beethoven's

Op,

S7,

for

example,

as

conveniently in F3J

minor as

in

F

mi'

or. In

such

a

case,

the

construction of

a suitable fingering, which must

be

based

exclusively

upon

a

correct

rendering

of

the

musical

phrase

without

respect

either

to the relations

of

black

and white

keys,

or to

those of longer

and shorter fingers

demands, of

course, the overthrow

of

all

the

rules

of the

old

method.

This

old method

appears, after all,

to have

set

out

with

the

chief

purpose

of circumventing all

diffi-

culties endangering the preservation

of a quiet position

of

the

hand,

through

varying

relations of

the

white and

black keys

which

come

into

play

;

just

as,

among

other

things,

it

ignored

the

necessity

of^

different

applications

of

the

fingers in the

case

of

different modes of touch

(/.

e.,

between legalo,

stacrato.

etc.);

and

just

as

it

rejected

that

right of the thumb

to

free

migration

,

which

is

in-

dispensable in polyphonic

playing and

for

avoiding

per-

plexities in transposition;

declaring, as a matter

of

course,

him

to

be

the

best

pianoforte-composer

whose

inspiration

was

continually

guided by

the

external image of the

twelve

half-steps

of

the

the octave

on the

key-board,

as

seven broad and

fl.it keys, together

with

five

narrow and

elevated ones; judged by

which

criterion,

dementi's

pianoforte-fugues

might

indeed

have claimed an

uncondi-

tional

superiority

over those

of a

J.

S.

Bach.

Now,

J.

B.

Cramer (born

1771,

in

Mannheim;

died

1858,

near

London) comprehended in a

far greater

degree

than did

his predecessor,

representing

a

more

important

artistic individuality,

Muzio Clementi

(born

17S2,

at

Rome;

died

1832,

in

England)

whose

instruction,

more-

over, fie

enjoyed

only

in

178^-4.

at Vienna,

therefore

as

a boy

the necessity

of bre.ikmg

with

that method; and

in

his

studies are

to be found frequent traces of reforma-

tory

directions

for

the fingering

especially,

too, in respect

to the

old

limitation

of

the

activity

of

the

thumb,

just

men

II


9/126

ioned.

But

as

if, frightened

bv

the

boldness of

his

attacks,

feared

the result

of

consistently

carrying them

out,

and

yielded

to

the

tyranny of earlier

practical

usage,

he

and frequently

shows

relapses into

the

old ways.

in preparing this

edition,

the

editor

deemed

him-

obliged

to suppress the

author who looked back,

in

of the one showing

intuitions

of

the

future;

still,

he

never gone

so far as

to

force another

fingering upon

pieces

in which

the

invention

of the pianoforte

appears

essentially

induced

by

the practices

of

the

method;

just

as, according

to his

principles,

the

concertos

(not,

on

the

other

hand,

those

of

we

mean

in the

original,

not their

antiquating

Hummel -ization

[Ver-

hummel

-ung]

)

should be

with

Hummels

own fingering

as

sufficiently

set

in

his

method for

the

pianoforte

without

any mod-

facilitation

or aggravation whatsoever.

The instructive remarks appended

to each

study

spare

the trouble

of

generalizing

that in our

work

which, in

special place, in connection

with practical

use, will

self-evident.

Still,

we desire

to mention,

in

that,

in

point

of

the

dynamic

signs of

delivery,

we

thought

it

best

to carry out with

more

exactness,

in detail, the intentions rather

sketchily

made known

the author.

Similar

revision

seemed

to

us

neces-

in

respect

to

the

/egiifo-s\urs

and

statra/o-points.

ecial care has

been

taken

to

display the

text in a

form

as

intelligible as possible,

following

in

this the

principle of

writing

upon

the

upper staff

all

assigned

to

the right

hand

for

performance,

all

given

to

the left

hand

upon

the

lower staff;

m

parallel

movements

of two

parts,

of

dis-

with the

luxury of double

slurring ;

etc.

With

reference

to

the

metronomic

signs,

wnicn,

as

hai

been said already,

are

copied

exactly

from the

original,

we

can

not conceal

that

to

us

they appear excessi\ely

fast

in

the majority of

cases

not

merely

in respect

to the

time

to be taken in

practising

them,

but

also to

that

ap-

propriate

to

their

delivery

simply as pieces of music. It

is

possible

that, as happened

with

Beethoven,

and more

recently

with

Schumann

(who

is

said

to

have

metrono-

mized

after

a

defective

Maelzel

during

an

entire creative

period),

the relation

of

the

compass

of

J.

B.

Cramer

to

our

normal

pyramid may

have resembled

that of a

Fah-

renheit

to a

Reaumur.

Concerning the

life

and

labors

of

the

composer,

infor-

mation

is to

be found

in

Fi^ns:

Universal Biography

(Biographic Universelle),

first

edition, 1866

[2nd

ed..

1884];

Gassner's Universal

Encyclopedia

of

Music (Uni-

versal-Lexikon

der

Tonkunst),

etc.

The History

ot

Pianoforte-playing

(Geschichte des

Klavierspiels), by

C. F.

Weitzmann,

was

referred

to at the

outset;

we

fully subscribe to what is there said

on

the relation of

Cramer to

his

predecessors

and

successors.

Unfortunately,

we have not

been

able, despite

repe.ited

endeavors,

to

ascertain

with

exactness

any

thing

con-

cerning

the

dates

of

the

successive

publication

of

Cramer's

studies,

to

establish

which

would

he

of

more

than mere

historic

interest.

The

second

book

appeared with

Breit-

kopf

and

Hlirtel

in 1810

(when

in tngland

?)

; and in the

advertisement relerring

to it in the General Musical

Gazette

(Allgem. musikal.

Zeitung),

the first book is mentioned

as

having

already passed through

five

editions,

and as being

one

of

the

most excellent

collections

of

studies that

had

appeared

in the last quinquennium

(180S-1810).

,. .,

0^0

Hans von

BOlow.

Mi:nich,

May,

i8b8.

CoCVKIliH

I

SCHIRMEK,

1875.


10/126

2

Fifty

Selected

Pianoforte

-Studies

Allegro.

(J

= \ri.)

se/itpte

leg'nfiss.

by

J.

B.

Cramer.

(1j*>

ff\

[r

T

\

r r

r

r

^

;^

tiir

L-

If

ay

^i

s

^5^

I

'

o

.,

.>

1

(iiiii.

Kiinw^

*)

Thf

fiRures given

in brackets

are the rn,'ii,'i/

iti/mhr-rs of

the

etudes in

the

first

edition

of

Cramer's 84 celebrated

^* '*'* ^-

Copyright,

1899,

ly

G.

Schirmer, Ine.

*''*

Copyright

re7iewal

assigned,

1927,

to

G. Schirmer,

Inc.

Printed

in

the

U.

S.

A.


11/126

S^33

Each

hand

should

first practise

its

part

alone,

in

tempo

and

with a

uniform

degree

of loudness

.

by

way

of

a

test,

try

to

play

in

faster

tempo and

even

mezzn-p/ann instead

of

the

previous

/ '//-/i . If the

indistinctness should

be

detected, resume

the

first

of

practice.

Both

hands

must

not play together

the

mechanical

difficulties

are

overcome.

The

study

execution

with

cresrendns


12/126

Allegro.

(J

= 88)

^

ten.

nemjrre

1^5

7

JJJ

t

o

1

J

^

^CIJ^B^C^

,J-3J^,

^rn

^

r^

a

I

f

1

1

4

a

i

i

^^/i.

sempre

(5)

^^^

^

it

1

it 1

-

3X

LJ*

^1/

iiLjTg

cir

LL;iirc^

-t>

j:

JT:

jTi

jj;

-*

4

J-

^

S

7

_0-

tfJl?5^j?5i:^

II

m

A

m

7

-A

f

I

:^

-

'EJf^cirto^

i

^

/

^

n

i^'jT3JT2

i>

H

^^

t

1

^

^

i

f

(10)

ri

^

-o-

^Ccr^LTC^

wm

ti.

J^'T^

JTT^

J3^JJ:,;T^

3X

/^-^i/r3^T3

ZEE

%

=t=5:

^

2^

^

'Ll

l

LS

h l

rTf

5-

ill^

^

(15)

J

c/tir;r

ftrr

i

g^

^

m

4^

:i

i' i

i

=i

1

M

\

I'i

\

J^^QJTl

a

7

n

5

/

^^

diinin.

IL*

4

1

i

I

z

IJl

^

i

ff^=

^

J

f

r

I7lil


15/126

i^mffmm.

^S-SS-S3=Pi|.

\m

J*

-r

1

^^iz

t^

'

i9-

1.

The

apparent

unimportanc*

of

the

part assig^ned

to

the

hand

in

this

Etude,

should

not mislead

the

pupil into im-

that

the

rule for

the

separate

practice

of

each hand,

under

N9 1,

may

possibly be

dispensed

with

here.

On

contrary,

its

observance in this

very

case

will tend

to stim-

musical

interest

in

the

number, and

thus

indirectly

fur-

the

execution of

the

rig-hl

hand.

2.

A partial

alteration

of

the

Cramer

fini,'-erinq-

which

at

first

g-lance

may

seem

convenient

struck

the

editor

as

necessary

here

(as

in

various other

casesj

in

order

to

give

the neg-lected

fourth

fin >-cr every

possible

opportunity

for

individual

development.

This

emancipation

of

the

fourth

fin-

ger

is

an

essential

condition

for

a correct

manner

of

hold-

ing

the

hand.


16/126

8

Allegro

con

spirito.(J

= i32.)

iJ^n

^rffr

4.

(13.)

f

e sempre

leg'ato

'

4

ii

4*

i

i

U

i

:

=

^

4


17/126

iM.

S

i

I

i

1^

^f

^^

^-^

->-M'f

r V

^

^^

,

fiiV

nr]

rrp

,

rrp

nr

p

^

^3

^.t^iiN^i^'i

^^

^nii|

I

itfrrrrr^r

(1.) A

more

practical

distribution

of

the

figures

hetween

hands,

in

measures

14-17

and

25, appeared necessary

for

rhythmical

and

purely

mechanical

reasons.

Among

latter is

the

rule

for

avoiding

the

useof

the

thumb

when

the

hands;

for

this

draws

the

entire

palm of

the

into

play,

and

thus

impedes the

ease

of

movement

in

both hands.

(2.)

The

fingering given

for

measures

10

and

11,

is

applicable

to

all

similar

graded

progressions; the

more

black

keys

involved,

the

less will thethumb be

used,

and

rice

versa.


18/126

10

Allegro

moderato.

(J ^

i

14)

se

111

pre

leg'afo

1764


19/126

11

f r

r r

r

r

A

transposition

of this Etude

into

O

minor and

F minor,

i?ive

a

still

better test of

its

practical

utilityjbesides,

in

transposing

cannot be

too

early

recommended

-

p,'7

Pf7

P?r

P?7

=

as

an

advantageous

influence

on

the pupil's

ear

and

gen-

eral

musical

development.

Compare the

Preface.


20/126


21/126

The

editor's

experience

in

teaching^

has convinced him

of

the comparative

uselessness

of this

Etude in

the orig-

key of D

major,

and of its

utility

as trsinsposed

into

DU

the

original key,

a good piano-fingering

for small

hands,

uninterrupted legato, could

not

be

found for

the

transition

the

very

first

two

measures.

Too great

care

cannot be bestowed

on firmly holding

down

the

thumb of

the left hand in measures

9,13

and

14,

while the

forefinger

is turning

over

to

take the

last

eighth-

note.

Sufficient attention

is

usually not

paid

to

such

pre-

liminary practice

to

polyphonic

playing.

(3)

A

transposition

of

this

Etude

into

C major

is

cilso

rec-

ommended.

The

unavoidable changes

in

the

fingering

may

be left

to

the

teacher's insight.


22/126

14

Moderate

con

espressione.

(J =

132.)

5

3

ZFF=*t

fci

^m

(5)

*/

-.

'^'-

r,

r

jg

^oeo

ptif

f

y

'

g^

i

gj^ff^

i

^H,-

r^^LF_j4g^;

^^g^

.

^1

^ew.

?4g*L^?J

??J^

1764


23/126

15

This

Etude

is

to be

considered,

first

of all, as

a

in

velocity

for

the

left hand.

The

teacher

should

take

at

the

same

time,

to stimulate a

feeling'

for

the

lead-

of

the bass

amid the

endeavors after

a

smooth

and even

This

feeling

should

be expressed by an

accentua-

(though

not too

pointed)

of

tones marking

succes-

modulations.

Of course,

such

accents

must

not

be

un-

multiplied;

in

measures 1 and

2,

for instance,

a

accent

on

this

lowest note

is

not

allowable. In

5,

on the other

hand,

besides

the first and

third

s, the G

and

the

Ai]

(on

the

second

and fourth

half-

respectively) are to be

slightly

marked, and

in mea-

6 and

7

each

beat;

whereas,

in

meas.

23

and

3i,

the

beat,

on account

of

the

unchanging harmony,

ad-

mits of

no

accent.

(JJ.)

Separate practice

by the right hand will

prove

no

less beneficial

for

an intelligent

and

elegant execution.

The

apparently

complicated

fingering

must be strictly ob-

served;

it

was

derived

from a consideration

of

the

various

modes

of touch, and

of the

correct

declamation of

the

melodic

phrase.

(3.)

The

turn

in

meas.

i9

m,iy

be played in two

ways; ei-

ther:

(H

iVy

J

.

yjJ.^r

or:

J^J

Sjd'^

;

the

editor,

however,

pre-

fers the

latter,

because

it

more strictly

maintains

the rhyth-

mical

integrity

of

the

melodic succession (syncopation

of

the

second

beat); neither

can the

dissonance

of

aI

against the

bass

G (second

half

of

second

beat)

be

considered

offensive.


24/126

16

Allegro

brillante. (J^tm.)

3

i

4.4

5

iI-2

4

5

m-T'-m

1

^

1

^

-#-

a

,f

P- *

i

^

^


25/126

*

i

,

s.

ir-i

\'Pil\il

^m

mimi

ere.fc.

ili

,iS^

fifgp^fff^^ll

l-s

ffirJ

Frf

fci

^

P

I

*

^^

i

Touching

the

execution

of the

arpeggioM

chords

the

first

and

last measures,

compare the

Note

to

N9 1.

The

stacrati

alternating

between

the

hands,

must

executed

with

the greatest precision (meas.

13-16.)

The

Episode

(meas.

21-26)

deserves special at-

'A

Z

5

tcntion,

both

on account of

the

change

of fingering

in

the

right-hand

figure,

and

the

leaps

of

the forefinger

of the

left

hand

in

turning

over.

(4.)

Despite

strong

family

resemblance

to

Etude

1,

this

number

is

not

rendered superfluous

by

the latter.


26/126

(

Moderato.(dz6a)

fe^

smm

^ A

S^

151

^m

f

i'f

^m

^

*-

J^'i

S^

S^

(20

m

^

^Si3^

^

j

^T^.^jTil^T^

?z

f

f

ni

S

I5t

,;^j^jn

ffiy

^

-..'h^^'^

?^i

J

^

,

rr-

j--

S^

^

**^

^

I

P.

*

>

f

i

f

f


27/126

''

'

^

^y^^

'^

WsT

^^^m

IT-

P

crexe.

m

te

as

^

/

K

^

6

(50)

S

J31

i^ztfe

Il iT3

i

^

=

fe

-(2^

ffi

^r^

^^'

^i^^

(55)

ss

s^

am.

f^

4^

3

W^i^^^^^l^ri

dtmin.

t

2

life

ip

3c:

To derive

full

profit from

the

exercises

for the

inde-

of

the

fourth

and

fifth

fingers,

\vc recommend

the number of

movements

in

each

measure should at

be

doubled,

thus:

Hands of

small

stretching

capacity will

find

only

1,4,

12

and

2S

of

special difficulty.

Admissible

are

left

to

the teachers

judgment

in

individu-

al cases.

(3.)

While

pursuing

the technical aims

of

this Etude,

do

not

neglect the study

of its classic form

and

its

melodic

and

modulatory content.

(4.)

Transpositions of

this

Etude

into

Ctt

minor

and

B

minor

will

prove very beneficial,

both

technically

and as

exercises

in the practical utilization

of

elementary

ac-

quirements in

harmony.


28/126

20

Alleg'i'o

non

troppo

as- a)

5,45

174


29/126

A certain

continuity being

both

practical

anJ

necessary

every

special

study,

thu

editor has placed the

present

and

next-following' trill-exercise

directly

after

the

foregoing

for

the fourth and

fifth

fingers.lt will

be

seen

at

that

a

new

feature of

technical

development appears

the

present Etude:

the

weaker fingers

are combined

the

stronger

in a

uniformly

light

and

agile touch.

More-

the

fingers

must

be

trained

to contract

swiftly after

extension;

while

the hand

is to

be so

habituated

to

et plasticity

of

motion,

that

the

finger-movements

appar-

leave

it

quite

at

rest.

a.

The editor

lays

particular

stress

on

an exact

finger-

for

the

left

hand.

His

experience

with the

power

of the

of

inertia

has

taught

him, that a fingering

like

the

usual convenient

the

following

audible

(or

rather

inaudible)

result:

By

such

an amateurish execution,

in

polyphonic pieces,

are

caused

the

most

absurd misconceptions with regard

to

the

leading of the parts. Passages in thirds

as,

for

example,

those

in the Presto

of

the

Beethoven

Ci

minor

sonata

op.

27,

N


30/126

23

Andante.

''-.

iia.)

n

(10)

3 tr

***

V

^^

^g

i

g

:l

i

*4*4*,*4^i

i

im,

m

4

4

,

mi

i

i.^

i

1

1

\

\

\

'i

im-

1

3

{

^^^

^

^

i

^

/r

^

^,..g>j

fi

t

(15)

r

r

(20)

^^^hi\>f\^.

^

^m

w^

ffiin.

^

1 4

^

^

1

-J

I

i_i

^^

1 i

:i J

1

*

i

a

^^

i

-I

1

^

W

r

I7tit


31/126

33

15

5 4

3

4

(40)

Instead of four

trill-notes

to each

eighth-note,

as in

original,

the

editor

deemed

it

better

to require

six.

The beginning of

the

trill

on

the

higher

auxiliary,

is

by the importance

of the trills in

this

number;

by

proper

regard

for

the smoothness

of

the

after-beat;

and

the

suspension-like

charm

gained

thereby;

while no

indistinctness

is

anywhere

induced.

(3.)

Exceptions

are found

in

measures

25,

27,

35 and

37,

in

the

left hand, where

a

beginning

on

the

auxiliary

would obscure the

harmony

in

its

most

essential

ele

-

ment

the

bass.

(4.)

In

measures

13-15

a

critical revision

of the

left-

hand part

appeared

indispensable, it

being

of incompre

-

hensible

meagreness in

the

original.


32/126

24

Lento.

(J

=

76)

5I

cnntabile

12.

(11.)

do/re

r.

A-

X

i

4

J

v^%

11

J^

tFW

^

4

i

d

i

t

^3

i

ere

so.

'V\

,

p

^^

^

^^

/

f

^


33/126

1

J

4

WF

*8

45

45

1

J.

I

A_^

m

^

^-

sm^^ ^

B

:*J:^^^

^

azt

f

1764


34/126

26

4

.'

-m

--#


35/126

37

J

w

m^

k

^

^

-#ty

As

a

contrast

to

the

preceding

Etude,

the

present

seemed

to

be

appropriate

in this

phice. All so-called

strength','

in

piano-

playing, depending

on

finger

-

agility

by

practice,

the

independence of the fourth and

ifth

fingers, gained

b}-

means

of

the

foregoing

Etudes,

now

be

available

in

the

shape

of

cleanness of attack,

76

ten.

il

pussibile

in playing

the highest

part.

By

writing

out

the

trills

in

full,

the

editor

hopes

to

remedy

that

pitiable

indecision

which

frequently

leads

in

the

final

movements of the

Beethoven

sonatas

op.

53, 109,

111,

and

also in

the

first

movement of

op. 100, for example

to

the most

sadly

perverted

practical

interpretations.


36/126

Vivace.

(^=

100.)

sempre

sopra

In

niunv

desfra

1764''

Cn2fyright,

1S99,

by G.

Srhir^nrr,

Tnr..

Cfrpyright

renewal

assigned, 1927,

t


37/126


38/126

Allog-ro.(J=9;jJ


39/126


40/126

15.

(18.)

f

Allegi

1-0.(J'=13N;

F

^f^

5

K.

1

5

1.

4

1.

:>

4

1

=-(

d

^^^

\

\

'Ml

SI

-s

s

1

r ,

^

^

'

-J

. J

_

1

8

\

- ^^^i?

|i^

m

-^T-T^

>:, 1.8

-

'*

a

*

'i

dimin.

n

1

fe

w

t

^


41/126

33

^

=^

'-T

t>

^


42/126

Allegrro.

(J

=

138.)

o

^^

^

V

5

/d*

j-^-

J.

f

'

-g

^

7 h

m

ttEj

P

*

r7~

:^

^

21

i:

^

P=w-3


43/126

35

(20^

cresc.

/

ffi

j^

j?#

^fe^

ai

^

^

^

#

A

:_#

'.

Ar.

1

^^

-;

i-aj-*

^30)

'^

^

I

SX.

^

S

'j^jj^Effl

^

^jJ'^JW^

All remasks

on

the preceding

Etude

apply

to

its coun-

terpart,

the

present number.

We

also add

theCwellnigh

su-

1764

perfluous)

recommendation, to

let the

p-

^iractise

thr

measures

two

by two.


44/126


45/126


46/126

38

Allegro

moderato.

(i^=i3a.)

3

3

.?

*a=5

^

t

S=^&

f

#SjPI

18

(9

'A

T.

l


47/126

(1.)

As

no short,

tj'pical

figure

predominates in

this

^tude,

but,

instead, a variety

of

successive fif,rures,

it

appears

advisable

to make a

special

prelimin.iry stud-

y

of

each

of

the small

groups. For

instan

ce, practise

measure 1

at first alone,

and

then in

connectionwith

measure

2;then take

up

the

figure in

measure

.'{,wlth

amplifications;

then

the one

occuring

in

measure

ft;etc.,

(2.)

It is

evident,

that

the

right-hand part

.ilso

requires

special practice;

careful

attention must,

in particular,

be

paid to

correct

phrasing,(musical punctuation,)

which

is precisely

indicated

by

beginning

and ending of

the

legato-slurs.

C3.)

The

following

execution

of

the

trills in

measures

a,

G,

8,

etc., is

perhaps

more tasteful than

that

written

out in

measure

2:

Through the retarded

entrance

of

the C|},the

auxil-

iary

D

receives

added melodic

importance

as

a

sus-

pension.

This mode of

execution is particularly

rec-

ommended

for

measure

2G, in order

to

avoid accident-

al

consecutive

fifths

between

bass and soprano:d

.


48/126

40

19.

(2.)

mm

Presto.

(cJiioo)

4

-.

4

3

fa

^>tt

ly

^

t

i

M

m

..%?

.p.*|r

,n

i^

'iifr

'-nr^

i

^=p-

^

m

i

CiTJrto

LU^

^c^

*>-

?

->*iiii,>

ji.

It

f'

[jcf^f-^

^.-JT.

^

/^

W

r

T rr

i

^p

m

m-M

mjj^^x^

iLL

-^

liiS

-^

lit

k

^-^^

^

m


49/126

41

w

^

'

i

f

f

2 f ^

[''

fT'

g=t

'^.^^.r\^

\

A^^^

(20^

m.

''H*^^'4H

5

*>^

This

Etude,

as

N9

2

(in

the

original,)

was

not in

the

right

place. The

change from

bwift extension to

con-

traction of

the

hand, and the work

expected

of

the

weak-

er

fingers,

demand a higher

degree of technical devel-

opnient

th.in

N*?

1

presupposes. But,after

Nos.9,

10,

and

17 have

gone

before,

the

task can

be accomplished

with-

out

difficulty.

We

hardly

need point out

the

necessity

for

practising

the

left-hand part

by

itself.


50/126

Moderato.

(J^Hi)

20.

^B^

U

i

c^

:SP

iff

f,rfrVr.rrVr: jS

^

i

s

'^

m

1

/ i^//.

2

^

i

te-

3

2

#=^F

*

^ fl.

P

^

ft

>

rrr,iiprr^r,rrrri^.rrrr%ryrrnr-^f^

=^

S

6

BSS=I

S

s

5

^-

s

ten.

^

4

^

^g;?.

71

9

9

4

5


51/126

43

1

pf^^g

ffirrrrriirrri'Mrrrrii

L^

i

t

m

i-i^'

g

/

dm.

i

3

.

a

crefic.

4

2

i

^

3

.

.ffegilP

|>Pttef.

.ef^p

^ftf.f

i

jf,.t

^

^

s

3

J

tl^

^^l-

/ ///

J

te.

{\.y The

chromatic

steps in

the

rig^ht-hand

figure

should

be

specially

accented at

first.

(2.^

Do

not

underrate

the

secondary

importance

of

this

1764

Etude as

a staccato study

for the

left hand. The

player

should

imagine the

effect

of a

pizzicnto

on the violoncello.

Pay

careful

attention to the fingering.


52/126

44

Allegretto.

(J

-

n^)

B

4

siini/e

(5)

.(20)


53/126

45

(i)

Double-notes like

these

arc

easier for

beginners

to

master than

passages

in thirds,

for

instance;

tor

in

the

former the

strength

of

the

entire

hand

can aid

tne

weakness

of

individual

fingcrs.Give

particular

atten-

tion

to lifting

the hand

elastically

after

each

connect-

ed

group

of

two

notes,

executing the

figures

as follows:

etc. It

is

even

advisable,

by

way of

practice,

to

allow

a still longer

pause

to

intervene-,e.g.

iZ.)

The

left hand

has an opportunity

to continue

the

staccato

exercises

begun

in

the

preceding

num-

ber.

The

occasional

32 ^

notes in

measures

6, 10,

etc.,

demand energetic rapidity.

1764


54/126

Alle

g'l'o

/d^io*)

22.

(1.)

>i;(^r

4

3

Pj,

a

5

ip

1

1

^

I

It*

i''?i^3

'w

^^^

i

i'^mlLt

^

^

4

^^

'

;

ri

^^m

m

^

sj^g-gg

ki

^

lnr

=^

^PP

S

^,

5

1

'2Q)j;f:

I

8

- ^

i

Sgp

^

gji

^^

r

^

feB3^as*3s

^

p^

''i,' ,

frrr,

ne**

w

m

CTJMOJ

2

9

^

^


55/126

yz

P

is

(45)

^

*

T

'^V

,2

>,

2

^rM^

^

1

,

ffbf-:^

Pl^

Si

cresc

3

s

^r>. ''T^f

S

i

/

^

g

^

^'ffWt

1

3

iti^it

1

B

ffi

*

r

3

^

1


56/126

48

Allegro

non

tanto.

(J=

i38.)

3

4

3

simili

It

it

F

I'-r

//

Basso sempre

tenuto e

marcato

i

MSti

if

^^

^

ao)

I

^

s

i

ijta^^

^

''

.^

i

^^^

^a

as)

i

4i4'*

''

(

*

'

i**

***

9^

S

f

^^^

M^

S

^eSJ

(30)

^ffi

5

lEI

=s;

1764


57/126

fc

^1 ^

m

iSi

^m

^^

49

^ir

ii_a

(40)

(50)

(1)

This Etude

doubtless

forms the

best

introduction

to

practising-

passages

in

thirds.

By

the

staccato

lift

of each

fourth

16th

-note (which,

by

the

way,

makes an excellent ex-

ercise in

elastic touch),fatipue

is

obviated.

As a preliminary

study,

an amplification

of

the first

half

of

the

figure

is

As

secondary

studies, the

ecommended:

following variants

may

be

tried:

w

and:

(Z)

The octave-progressions in

the

left hand

are

to

be

played

as

energetically

and

decidedly

as

possible.

The

teacher

should prevent

the

formation

of

that well-meant,

amateurish bad habit of trying to connect

an octave

with

a

higher

one

by replacing the thumb by another

finger,

and

thus

(unavoidably)

quitting the lower

note

of

the

lower

oc-

tave. (No less reprehensible

is

the reverse

practice

of

replac-

ing, in descending,

the

fifth finger

of

the left

hand

by

the

third,

thus quitting the higher

octave-note.)


58/126

50

Allegro

vivace.

(Jrieo.)

24.

(63.)

i

^E

mf

5

tL

n.

**

5,5

.5

5

^

a*

3S32*

E^'UL-^

5^

111

4^

'

f

-^^

ty

^^^.^l^f^^f^^

ten.

P

^


59/126

(20)

51

5^

ffffppfffffi

.

fp^

:^g

H^K

-E-^

ere.Sc.

r

r

J2.

w

/

1

^

I

Ea

ffi

crtsc.

/.

m

^

/

-/

^

*-

'W

dolce

3

4

1

3

E3E

3

lea

4

-t

3

3

H

4 7

W

/

4

rffl

3*3

cre,sc

^

^

1^

^

V

jl

= -

=

^^=i^

= *-

mî

r-i

(30)

n

rrn

8

-1

f

3

^

f

c

5

6

4

2

8

4 4

6

5

a

a

4

[.J

*

a

2

*

1

'^

1

'

a

1

] a

C

5-

ri= L_J_

^L

J

'

J

L-

#;

J

J

J

1

ten.

IT

hH#1

^

-f

4

^^

pi|-

-^^

rrv

-F==

rjn

'

-^

r^^

1

4

1

a

j^

=

*-:

4

1

a

--

a

1^^

3

^

3-*

1

5

4

a

,

ten.

f^

--

a

-

i5i

1

II

\xs

f

j;

J

J

^

1

J_

J

J ^

1

J_

=^

-^

w

u^

In

the

rapid tempo prescribed,

the pupil,

in his pre-

stage of

technical

proficiency, will

hardly

be able

master this Etude.

Its

practice

in

slower

tempo need

however, be

considered

premature.

The teacher

will

do

after

the lapse of a

certain

time

devoted

to

the

further

of this

collection

of

Etudes,

to

return

to

this

num-

and,

in

general, to review systematically.

Particular attention must

be paid

to lifting

the fin-

in

exact

time,

and both

to feel

and

to

see

that

it is

lifted,

at

the

end of a legato

-slur.

rF

\TS

appojTgiaturas,

we

refer

to the

previous

remarks (Notes

to

Nos.

1

and

14).

As

the

short

appoggiatura

represents

the

bass of

the

chord,

it

should

be

marked

all

the more

decidedly

from

the fact,

that the

after-

striking tone

is

more

impressed on

the

ear by

its

longer

duration.

The

triplets

in

the right h.ind

are to

be executed as

follows:

i

fi#

#â

i

E = EÊE

^

-


60/126

52

25.

(64.)

i

i

Maestoso

ehergrico.

(J=ios.>

n

-

t

f

^m

'^

3

2

^;T^py>

sopra

2

sotto

p

^

I

,

t^T'

hit^

-Tf^r

^^f

i

5

(15,U

kV-V

3

2

fi?^

1 3

I*

5

^

i

^

Si:

ES

S:

^^ ^J)y>J)

c=^5

yn^

R

y^-'y

^

'va

i

'

d>

^

0'=^

dimin.

P

J)7

i)y>M

3

2

1

sopra

3

2

1

H#^

^

^^

srP

i/P^P

^P

^^

at

Wi}fin

5

2

1

I

f

''

j,\J)'


81/126

7.3

4

3

4

^

(35)

4

.

\

?

?

5

3

?

^

=Z

^

^

^^^^

^

3

?

^^

^

7

|

^7hhj7

|

j7hp7y

|

j7'p7^P

^

M

J

?

?

3

feg-o-ie/o

'

1

1 2

^P7p7^p

(40)

fe*

g^^

w#

w

^\4h^l

'

'

'4

'

yr

P^pv'p

in

B

7

i;

^^^^

Ie^

J-'7j

)>

J

)^

i

)7

-

^

X*

:{

ij

1

^m

p7

î;7;^7J'7->

^

r

^S

7^J)7ff7j)7;>--

P^

f

^'

f

''^

^j

4

4 4

1

soprn

(45)

^

^

^

^

^

^

3

1

tes^

>>

J)

Tj)

^^

y

jy^-W:

;^p

-

-

-

i^=^

^^

8^

3

a

3

'/b'-i>

pv^;i7p7j^

P^^p^P^'p^

^S

cre.sc.

.

,syy/>/w

'

soffo 3

3

I

(50)

X

.svpm

Ji

4

;{

kî>M'^î^^lyJ^^''p7>''1pT(ji7B>J''^ N)^j)7il7j7'>

P7

^j^'7ff7i)7

(60)

4

{

2

3

?*

4

^r

-1

v^

fi

dim.

'

,r

i^

^

p

^

V'^^

J)^

j^''i>

^'^j)7;)7^

^W

1)^

j,^' ^

p

î'^>

y

l

j^

1.

WTiile related

to

the

preceding

Etude as

regards

the

interweaving of

the

parts, this

number

also affords

new

material for

practice:

(a)

In

that

light

staccato

touch

which

should

resemble

the

portamento;

(b)

For

the

right

hand,

in

changing

fingers

on

one

and the same

key.

2.

By

indicating

in

detail

and consistently, by the

terms suf/o

and

supra,

whether

the

left

hand has

to

I7'4

play

below or above

the

right,

we

trust

to

have

obvi-

ated

the

embarrassment of

the

player

which

usually

de-

ters

him from

practising

this

number.

3.

At

the

beginning,

slow

practice

with

a

vigorous

touch

is recommended.

4.

Hands

of

lesser

stretching capacity

should

use

the

descending;

ninths and

tenths,

in

measures

3,

4,

41J and

17,

as

independent finger-

exercises,

in the ni.inner

ex-

plained

for

the

left hand in

the

preceding

Etude.


82/126

74

35.,

(55.)

J

m^

5

5 5

4

I

#

#

1]

'

i

\'-

Û'^'-''

A ,

^#^F^1^^.Â,

l=l?lf^1f^

>

3

ec

gggS'

/rti-sc.

5

3

5

*'20)

^^L^--^

-

a,Ki^^

I

it

J

1

4

-

J

^

WW

^^

w

i

ss

1

1 1 M

rji

^

1-1

'

M

'

l

^

M^

'

I

^^

i_

:

,

p^^^m

u

*./-

-

tf-.

-*

/25j

/30)

llÎkiii^îi^Jî

k

i

=15

i

ii

4

I7K'


83/126

75

^45)

m

fen.

J

It;

^

5

4

:{

'I

\

1

i

H

i

m^

W^=i\

ap

S

i

4

I

#

fl-a-ga- ffl-a-^ffi- gS

'

a^

E^a-Q/

'

aj-a'^

':^^

UdbtiU

Us^

ffi-M

'55)

1.

One of

the

best

means

for

acquirinf

4

i

A

^

5

4

'K

/

^ ^ ^ ^ #

bt

^^

_r

^

ngl

F

af :L;?^^TOi

ni


85/126

^

^

^

i

4

B

*^:

te/i.

.4

5

^m

z

t

g

^

s

2

^

nemprej

m

CTOTOT

i

jJJJjJJ^jJJJJiJJiJJJJi^JJ^JJW

J^^JJJ^^^^xUi

~cr

m

(1.) In its

technical

aims

the present Etude

belongs, like

he

two

next-following,

to

the

class

already

represented

in

Nos.

23

and

26 (also

Nos.21

and

24).

The

teachershould

let the pupil

review

the

earlier

numbers,

with

the Notes

appertaining

thereto.

(2.)

The

trills

for

the right

hand

in

measures

17

tp

19

should occupy,

in

rapid

tempo,

only

the

time-value of a

simple

turn;

but

the

resulting quintuplet

must be

strictly

rhythmical'y

apportioned to the

lower

part,

and

both

forms

of

quintuplet (2+3

and

3+2) ought to be

practised.

Of

1764

If

course,

more

notes are to be

played

in

slow tempo.

(3.) The melodic

ornament

in

the

first

beat

of mcas.

26

and

28,

and in

the third

and fourth

of meas.

31 and

32,

is

technically

termed

a slide (in

German;

Schleifer ; see

C.

Ph. E.

Bach's

indispensable

text-book: Versuch

iiber

die

wahre

Art,

das

Clavier

zu

spielen )-

As

a rule

(and

here, too)

it

is

to

be executed

crescendo

.

(4.)

For

the

appoggiaturas in

the

bass,

meas.

29-30,

see

Note 3

toN?24.


86/126

78

Allegro.

(J-

r

96)

i

*jt

'

trî/î^

I

^w

i

J

^

^

f^

?r^^ ffir

f

ff

M*

J

2

g^

]

~

-3

?

5-

i

tf

imij^

:

;t

^ y

5^^^^

l^=

3

2

3

|3

r-T^

J)

^

^

î

J

J

f

*=at

-I

a-

i

ft

.

-.

A

3

4

2 2

-?

:**:

^

03

1=?:^

M

i

SeeS

ê;^.

i

^

(15).

W^

^ ^

^^

wm

s^

3

*

2

j

)

,r

j

4

(20)

ten.

T

Ji

'^^^

=

S^^^

^^^

TTa

-l2

1

a

^

g

?

g

^

^

4

H

jJ

,1

,.

^'

efl-^

S^

fa^

(25)

^

S

^W

.

at-

^2^

gS^

KTgECr

4iL'4t

.

.

3K=*

>^

îJi

^1

a

** ^

p^

ten.

^

^#

i

^^^

raw

3^1:

at

^

i

a

i

B^g

ii^f

f

i

j^^

U

I

'l

ECCfEffi

l

5

^

a

T

^3^?

-3?-3

-3|


100/126

i

p^=*

.

(40)

J2*=^

n

i

p

n

^:..^

n

rj

,

.n

n

*i;^p

i

gg

r-

^r

-WTr

I'agtfg

*

i-S***^-*-**-

*

,*p> *

:

A

i


101/126

i)

'y

^

HM

T

i)

,n

C5i

(70)

fen.

93

i)

-^e^H :^

^

^^

(801

&S

^=^

i

1

=5

s^s^

m

f

^^^

^ ^

ar^

(1)

The

profit

to

be

derived

from

this

extremely useful

Etude,

will

consist in

an

equally

delicate and

even

distinct-

ness of touoh

of the individual fingers

with

the greatest

possible lightness

of

the

wrist.

As

an exercise

in repeated

tones,

it

should

be practised in

connection

with

Nos.

35

and

36,

which are

now

to

be

reviewed

as appropriate

pre-

liminary

studies.

The

binding

of certain

half-tone

and

whole-tone

steps,

(e.

g.,

in

meas.

23,

and

17 and

19,

re-

spectively,)

by a

special

slur,

was retained

and

consistently

carried out

according

to

the

original. The

musical

reason

for

this IS

so

evident, that explanation would

be

super-

fluous.

(2)

We

earnestly

warn

the teacher

against

toleration

for

the

naturalistic

fingering:

^

^

i

i

^ \^f^

by

reason

of

the

bad

habits it

engenders

in

a

technicaland

musical

sense.

Repeated

use

of

the

thumb,

after

the

octave

in

the

bass,

for

playing

the

harmonic

accompanying

and

accessory

parts,

is

permissible

only

when

the latter

kind are

a direct

repe-

tition

of

the

former, as in

meas. 90

and

91,

though,

for

that

matter, the'

other fingering

is also

applicable

to

these

cases.

In meas. 23 and

27,

there

is

no

preceding

octave;

conse-

quently,

the above

rule does

not

apply

to

them.


102/126

94

3.

*

Andante

maestoso

ed

espressivo.

(J^neo.)

ten.

-A

^'

i

/

3

^

7/


103/126

95

f

ff

a

2 3

1

I

^1^

iyj-i/aj'^^yjitfitf^H

dJii^^iiJ

^.

s

i

(15)

^-


104/126

96

^

iU

^

di

siJ

gW^

5_

*

z

1

f

f f

fi.ii.

f

f

#

(a

If

^

ii^

tU

dJ

sJJ

^

^

J^

S

1^^

poco

f

U

tW

-

Si^


105/126

97

d.

This

Etude

is doubly

valuable:

as a study in flexibili-

for the

left hand, and

as

a study

in melodic

expression

the

rijfht.

It

must, of

course, be

left

to

the

teacher's

judg--

whether or no

the

number

is

too

far

advanced

in

the

respect, for the musical

development

of any

individual

A

fine

interpretation

of

the

cniitilciin

assumes

that the

is

already

qualified to interpret Fields

Nocturnes, or

melodic

passages in

Hummel's

or Moscheles' piano-con-

not to

mention the

classics

par excellence.

\X is

ad-

at

all

events, to

practise

the

left-hand

part

to

such

degree of

finished

execution, that

the

involuntarily

e

-

performance of

the

triplet-figure shall

no longer em-

the

right hand in playing two or four notes a-

each

triplet with rhythmical

exactness.

The

tenths

the

beginning

of

the

measure

must

not,

of course, be

by

leaps,

but by

sliilfully

sliding and

drawing

the

upward

(see

the exercise

written out

in

Note

3,

N9

which ought

now

to

be

practised

in

sharp

keys.)

(2.)

The

long

appoggiaturas

in

the

higher

part are

writ-

ten out in

modern notation.

As

frequently

remarked,

the

short

ones

must take

their time

-value, however

brief,

from

the

next

-following

principal note.


106/126


107/126

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108/126

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109/126

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>

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^^

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^

ub

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if

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(50)

J.

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^

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^

22

t

f

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^-

player

havinp

already

encountered

similnr

for

practice

in

this collection (e.g.,

Etude

N9

useful

as

a preparatory

study,)

his

attention

may

immcdiatly

to

the

study

of

expression

and

style,

requiring-

considerable

flexibility

of

wrist

and

even

of

the

elbow-

joint. The

double-hooked

mel-

oHy-

notes of

the

higher

part should

be

struck

off, as

it were,

with

a

most

vigorous attack.

For

practice in

correctly striking

the accented

intervals,

a

side-stud-

y

of

the

same

in

legato

is

recommended-.

On

the

other

hand,

it

will

also

be

.


110/126

102

Moderato

espressivo/J^jiuJ


111/126

103

The

instructive aim of

this

Etude,

which

is

also

of

mean value

as

a piece

of music, hardly requires

explanation.

The

following points may be left

the teacher's

intelligent

supervision:

Polyphonic

in the

right hand;

expressive

emphasis

of the

melody in

the highest

part;

subordination

the

second accessory part; delicate fluency

and

continuity

in

the

figurate

accompaniment;

ing

of

each individu.il

part,

and compact consonance

of

the chords,

unmarred

by

the

slig-htest

arpeggio. No

les..S

care

oug ht

to

be

bestowed

on correct

phrasing-,

.is

in-

dicated by

the

beginning and

end

of the

slurs,

and

like-

wise

on

strict

observance

of

the

note-values of

the

two

parts

in the left hand,

the

higher

of

which

represents,

as

it were,

a violonrello-part

and

the lower a

double-bass.

Transposition

into

other

keys,

already

so

often

recom-


112/126

104

46.

(41.)

4fc

Arioso

moderato. (J:ii6)

S

^yrt

spi

a

B

?

3

2 3

18

12

2

a

1

3

22

f^

I

2

.

1

2

I

__^

*

^^^

f

1764


113/126


114/126

i;'^

^^

^h^^k^

^fflW

^E^grto-

wm

irP-

Etude

forms

a

counterpart

to

the

preceding--,

although

the rig:ht

hand

has

here only two parts,

execution

is

more

difficult,

so

that No. 46

serves

better

for

a preparatory

study

to No.

45,

than

rire

more

especially

because

the

figurate

accompani-

in

the

former

requires

a

more

expressive

shading.

player

should

im.igine

the

effect

of

a string-quartet.

a

piece

of

music

this

m.iy,

in a

sense,

be

regarded

the

prototype

of

Mendelssohn's

''Songs

withoutWords'-

despite

its

modest

simplicity,

with

which,

however,

it

unites perennial

freshness and

dignity of

ornamentation

and

finish of

form

and

piano-

style, it

is

assuredly

no

less

valuable than

any

of the

above-named

pieces

by the

afore-

said

more

modern master.

(3.) The

player

must

carefully

avoid a

sentimental

retard-

ing

of the tempo. Moreover, the

middle

division

(Minore)

will

bear

an

imperceptible

acceleration.

(4.)The notes written here and there

on the

lo-wer

staff

(in

meas.3,

4_15,

16,etc.),to

avoid using

too

many

leger-

lines,

are to

be

executed

by

the

right

hand.


115/126

107

Molto

ag-itato.

(J-r

76)

J^J

'Mi'


116/126

k^

l ^

ten.

J

^^

1

,1

M

o

i

I.

T

i

f

m

I

\^

i

(25)

fe *

^

>

'V

I

aimin. r

T

F

T

I

^W

/

II

dr


117/126

109

mn

(1.) The

(at first

glance)

somewhat

sfrang-e-looking

slurs

skips,

are

given

in

the

original, and

hav


118/126


119/126

(1.)

In

its

essentiiil

object

this Etude

is

a

continuation

the

one

preceding.

As

it

may now be

assumed,

that

player

is

accustomed

to execute

wide

intervals

in

time, not

by

leaping,

but

by g-liding- with

a

quiet

the method

of

lifting-

the

hand

proposed

as

a pre-

exercise

to

N9

47,

is

not

to be

employed here.

(Z.)

The

player

is

expressly

warned

ag-ainst

using'

any

but

the

one

given,

for

the

turn

in

the

first

half

It is,

in

particular,

a

wholly

reprehensible,

am.iteur-

sh trick

to

let

the

forefinger

play

alternately

above

and

below

the thumb;

besides

always

having-

a

lame effect,

it

causes

needless fatigue

and

tends to stiffen

the touch.

,^^

p.

?)oi

but rather:

.)

1 3

I,

.?

1

2

1

Consequently, never

play so:^^^^^^^^;,,^^^^^^^^,

,.^^.

,_

(3.)

.Strict

observance of the prescribed

crexrendu

and

dc-

rrrsre/ii/o

in

nearly every

measure,

will

also

afford

tech-

nical facilitation.

(.See

1

\o

N9

13.)

(4.)

Concerning

the

execution

of

arpeggio

chords

th:*

needful remarks

have

often

been

made.


120/126

U2

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(J

=

152.)

a

*

a

4

5

simile

m

9.

(83J

t

ff

Vr^y^

iir

f

^

fcO:

CJ

J

IJ

6^.

^


121/126

113

(25)

s

A

^m

itmum

fi^

a

^

#^

,

(30)

^

f

^

s

ff

^

r-^

dm

in.

P

s^

^

rfi-

^f iff.

i^

^

^S

^r* r'f

(35)

t^

r

i^

l

l

r?

Mr

m

^m

^

^

rrs

m

ereNc.

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122/126

114

Moderate

Documents

50 Selected Piano-Studies