CRAMER

B.

J"

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50 STUDIES--Bk.

Cramer.

SCHIRMER'S
OF

.jtki

Piano

LIBRARY

MUSICAL

CLASSICS

Vol. 828

J.B.CRAMER
FiftyStudies
For the Piano
Book I

(BULOW)

1.40
TBORI

SCHIBJ^jil^

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SCHIRMER'S
OF

LIBRARY

MUSICAL

CLASSICS

Baptiste

Jean

Cramer

Fifty
Selected

Piano-Studies

Systematically Arranged,
Expression-Marks
and

Provided
DR.

Fingering and

Critically Revised,

with

HANS

Instructive

R. PARSONS

DR.

Book
Book

Revised

Book
Book

One

1-12)

"

Complete)
Library

Vol.

828

Library

VoL

829

"

Library Vol.

830

Library VoL

831

26-38)"

(Nos. 39-50)

(Complete)

G.

BOOKS
Book

(Nos. 13-25)

III (Nos.
IV

by
BAKER

FOUR
in

I (Nos.
II

B. BOEKELMAN

THEODORE

IN

(Also

by

and

Newly

"

Library VoL

827

SCHIRMER,
New

INC.
York

Copyright, 1899, by G. Schirmer,

Copyright

renewal

assigned, 1927,
PriiiMd

by

BiJLOW

VON

Translations
ALBERT

Notes

la "b"

U.

to G.

S. A.

Inc.

Schirmer,

Inc.

0'^5Sll. OS^lp

PREFACE

-J
To

in detail,and with a mere

mention
of triad in an artistically
correct manner,
not to mention
repetition
what is universally
Now, the practical
recognizedand has often other surprisesfor the examiner.
been said concerningthe inestimable value and enduring ill-success so frequentlyattendant upon
the study of
Cramer's FtiiJes is owing to c.iuses
which it is the aim
as
a
importanceof J. B. Cramer's pianoforte-studies,
for the pianist's
these is the noncultural means
execution and delivery,of this edition to obviate. First among
sUice^sioH.
observance of a systematic
Such an one
not only unexcelled, but also
with the excepwas
(a means
tion
dementi's
"Gradus
carried out by the author.
of Muzio
ad Parnassum ", for
not, at least consistently,
which
the
the
in
the
of
most
suitable
succession
serve
one
Moreover,
as
edition,
the
they
English
preparation
differs from that in the German.
The firstas yet but approximately
equalledby any other collection numbers
named
of studies,)can not, of course,
be the purpose of these
edition,which
laybefore us in our work, and,
lines. If Fetis,the Romanic
of the
indeed, as represented
musical authority
by a revisional copy providedwith
corrections
in
Cramer's
them
"eminemment
own
as
classiques",
(thiscopy,
present,designates
handwriting
and if,of his German
Franz Brendel and C. F.
at that time at the head of
colleagues,
belongingto Mr. Spi'tzweg,
the publishinghouse of Aibl, served as the standard for
Weitzmann,
the former, in his history
of music, terms
allsignsof time and expression),
them "a foundation marking a new
also
epoch for all solid determiningexactly
contains the sixteen studies supplementallyissued in
of pianoforte-playstudy";and the latter,in his history
ing,*
Vienna (surreptitiously
in Hamburg), which have been
New
York, 1895],numbers them
[Engl,translation.
but littledisseminated, and the chief purthe classics of pi.moforte-literature
in respect comparatively
among
pose
and form, these consonant
alike to contents
of which, evidently,
was
only to make up the
opinionsof
renowned
ceremonial number of 100.
the most
their
aestheticiansand theorists really
but
sideration
non-conAccordingly,
in the present edition was
of which speaksto us
not prompted solely
state a fact,the great consequence
For our
domain.
most loudlyin the universal dissemination and popularityby their character of a private
attempt
of the work here newly issued to the publicin a specifically to remedy this evil, no claim is l.iidto absolute approval,
since
individual
considerations
will
instructive edition. Perhapsit will not be supera
alwaysplay certain
fluous
role in instruction,
if the teacher's conceptionof his task
to say a few
words
in justification
of the new
edition (or elaboration),
although only through careful be not bureaucratic. A second chief cause of the qualitative
of the work
itself will the purpose of the
resultlessness of the studyof Cramer's EtuJes is to
inspection
editor become
such
be
found
in
their
The
The
clear.
need
of
an
same
eration
considperfectly
over-great quantity.
in the case of dementis
"Gradus
ad Parnassum"
instructiveedition has been often felt already. Louis
induced the Court-pianist
to the King of
Berger(born 1777, and dementi's pupilfrom 1804-10) has recently
deemed it necessary to edit the firsttwelve studies with
Prussia,Mr. Carl Tausig, to edit an anthologyof that
for their
with
valuable
directions
additional directions for the fingering;
the entire work
work,
accompanied
which
edited bv JuliusKnorr ; while, correct practice,
afterward similarly
is publishedin Berlin by Bahn
was
Mr. Louis Kohler has issued, as the open(Trautwein's),and the adoptionof which, on the part of
quiterecently,
ing
all intelligent
is to be recommended.
book of his "Classical High School for Pianists", a
pianoforte-teachers,
With
selection of thirty
sically
in
correct tact, Mr. Tausighas eliminated the intrinwith
studies,
glosses part highly
useful. It is idle critically
to review the editions named,
contrapuntal
very valuable piecesin the severe
and canons
since the new
here submitted originated
of Clementi,
one
solelyin style;for the pianoforte-fugues
for the Welltheir criticism. The old need has simplyremained unsatfar from offering
of preparation
isfied,
a fitmeans
Clavichord
of
and the attentive observer of the doings of the
Bach,
are
more
to hinder
tempered
likely
to bad habits. For
world can
not escape the perceptionthe playerby leading
pianoforte-playing
Bach-playing''
demands
studies which must be sought only
of how
seldom it is in proportion
to their universal
preliminary
in other compositions
dissemination
himself with,
that the cultural material proffered
in
by that master
Cramer's studies is exhaustively
the
of pieces
their
while
perhaps, anticipation
utilized;
by Handel.* In preparing
well-considered and methodic emplovment must
have for
thisedition of Cramer, all piecesfor practice
in which
definitemechanical end was pursuedhave been
its result the gain of a firm foundation
no perfectly
for virtuoso-discipline
culled and disposed
in the good sense,
of. Perhapswe
similarly
may1 even
nay, the gain of an alreadv
lectual
developeddegree of mechanical and intelcomparatively
*
As there was
a
once, in Florence and at other Italian universities,
ripenesson the part of the player. But with what
Dante faculty
tlie first occupant of this cliairof instruction),
(Boccaccio was
want
of thoroughness,with what
unthinking routine
of which confined their philological
tiie members
labors simplyto
both pupilsand teachers proceedthrough them!
Either
tliere might be in place,
the enigma of tliismighty sphinx,
in high
so
of the studyof the German
lectual
intela similar specialization
the instruction consists,all told,in more
less pedanor
tically schools of music,
giant in tones, Bach,wlio is comparableto a Dante only. To
"ploughing through the firstbook, and perhaps
and with finish is a task wliich
the necessary
play Bach beautifully
the second also,which naturally
is then, as a rule, more
is only to be demanded
from those piancerebral conditions abstracted
ists
who have attained completemastery over the material,and who also,
quicklyfinished;or else the whole number, eightv-four,
stumble
for
Beethoven's
last pianono
brokenly
longer
through
in
example,
hurriedly
are
turn
on
;
quitted
accomplishing
really
forte-son.atas. Whither attempts to assimilate the works of Bach from the
of ten, the but slightpositive
out
which, in nine cases
tend, is most alaimmgly
specifically
standpointof the pianoforte-chair
result appears, that the plaverwho
has reached No. 84, shown
by Czerny'scelebrated edition of them, the transitorymerit o/
l"ut against
uncritical use of which an
on
which we would not question,
an
being suddenlyagain confronted with No. i, shows
o(
himself incapable
of striking
the firstarpeggioedC major emphaticwarningmust be givenin the interestof a true understanding
Bach.
Moreover, with the above remark,it is not intended to say that
*
and inventions)may
A copy of which, with iti.muscript
the introduction to the playingof Ba^h (preludes
revisions .mil additions,has been
intrusted by the author to the presenttranslator for the preparation
of an
with th*
not, accordingto individual data,begin even
simultaneously
version.
studyof Cramer's Etudes.
English

encomiums,

"

"

"

"

"

"

"

"

"

"

"

tm

HEW

lod

YORK

PtJBUfl UBBART
40 LINCOLN-

NEW

FOK THE.PgmrnwMT^

CENXmT'T.Ay^*^^

YORK. NT

100^^

lun
*""

be

reproachedfor

and

having proceededradically
enough,

not

having given

for

much

too

of tliatwhich

to

space

is homogeneous.

misused
frequently

the

repentedrepresentationsTo

refer here to other

du pi.nniste".
title,"indispensable
of a subordinate
specialties
nature,

To this it might

purely mechanical

ends, would

for

the advantagefar.
that practical
experience demonstrates
replied,
of such readings. Precisely
in connection
with
Finally, a third
of our
the necessityof acquiringby persever.mce
any
special justification

extend

this

prefacetoo

be

of

kind

expertness, the charm

mechanical

varietyin homogeneity
the

on

hand, and on
also, occasionally,
as

one

of

tends to refresh and

the other to promote

certain

which
one
directions

stimulate,
and

doled

mine,
deter-

counter-experiment, to
exercises only, the
After several homogeneous

and
instruct.

in

playershould always revert,

of them.
Respectinga few

to the
recapitulation,

the

"

greater difficulties

it may
be remarked, that in a regularly
succession
of those collections of studies
be employed for complete cultivation in
"

graded
to

are

J. 6.
pianoforte-playing,
Clementi.

Cramer

is the

forerunner

of

question comprises all the studies, from

beginner to those of the virtuoso.

those

of

to

"

of

classical

the

eminent

master

foundation

at

system

and, by
fingersindependent of that unevenness,
of protractedgymnastic exercise, to enable them to
about on the black keys in a manner
move
free,
as
light,
and distinct as when
white keys,and without
secure,
on
whatsoever
of white
and
stumbling in any combination
the

black.

venturesome
According to the perhaps somewhat
opinion of the editor, that is the best fingeringwhich

mechanical
permits the performer, without
preparation,
without
previously taking pains to deliberate, to

and

as

of his

transpose

choose;

technique.

h. In contrast
to the relative drynessof Schmitt,
of Stephen
use
Heller, Op. 43.
II. a. J. B. Cramer's
studies.

of time, arrived

course

respects diametrically
many
opposed to
As the chief mechanical
in pianodifficulty
forte-playi

means

Fklix

that

mention

an

has, in

now
lay stress upon the unevenness,
the local relations of black and white keys,
of the field forming the scene
of action for the performer's
directed to rendering
fingers.Our aim, therefore, is chiefly

"

worthy

in need

we

"

It is

consistency,were

resultingfrom

of the

", always to be pracPreparatoires

tised
keys which form the introduction

Mkndf.lssohn-Bartholdy,
who
was
pianistalso, laid with this work

of

want

fingeringin

the former.

have
After the first rudiments
been mastered, for which
the first part of the pianoforte-method
of Lrbf.rtpurpose
is most
Stark
to be recommended
as. to the best of our
substantial help,the followingare
knowledge, the most
in place:
I. a. The
studies of Ai.OYS Schmitt, Op. i6, together

Exercices
the
in all twelve
the first book.

their

augmentation and alteration,in'order to help the

aim.
In
performer to attain the purposed mechanical
order
to prevent misinterpretation,
will
elucidate
we
this apparently irreverent
more
particularly
reproach
His labors' fell on the boundaryagainst J. B. Cramer.
line between
the earlier and
later periods of pianoforte-

of execution,

perhaps, it may not be

indicated
unwelcome
the
to
to see
pianoforte-teachers
of mechanical
course
study which the undersigned has
The course
found approved in his practice
teacher.
as
a

with

out

us

of
application

the latter, keeping pace

with
the
playing, of which
increasing
perfectionof the instrument, and the enhanced
demands
resultingfrom it upon the performer'spowers

in this connection,

ki

in

indeed, the

weightiest of all. It relates to the

the fingers,which, being
by the author with a sparingnessonly proportionate
to

mechanical
end is perhapsstillmore
oped
develsystematically
in dementi's
Gradus
coupled,to be sure, with

which

mentioned

edition, and,

alike of

first

studies, of which

might be

instructive
to

seems

for the

other

circumstance

to
given pianoforte-piece

a
a

modern

lateral be
col-

any
key he may
of the genuine calibre must
Beethoven's
Op. 57, for example, as

virtuoso

able to perform
convenientlyin F8 minor

in F minor.
In such a case,
as
the construction of a suitable fingering,
which
must
be
based exclusivelyupon a correct
renderingof the musical

b. St. Heller:
C. Czerny:
c.

Op. 46 and 47.

phrase without respect either to the relations of black
Daily Exercises; likewise his collection
and white keys,or to those of longer and shorter fingers
of studies, entitled the "Method
of Legato and Staccato
of all the rules of the
(Die Schule des Legato und Staccato), which, strangely demands, of course, the overthrow
"

"

"

enough, has

hitherto

not

received

that

notice

it

which

set

III. a.
and

"Gradus

Clementi;

elaboration

by

h. Moscheles:

C.

Op.

ad

70, 24
in North

IV.

a.

Henselt:

Selected
and as

Together with,

"Etudes-Poesies";

bier:

studies;
than

work

in South

Germany,

of continuation

of

between
that

Selected pieces by Moscheles:

Characteristic
(Charakteristische
Studien). Op. q=,.

V.

Chopin:

Op. 10 and 2s, with which may

study of the single Preludes (of
tendency)from his Op. 2"S.
Liszt: Six Etudes
after Paganini; three

the
mechanical
VI.

Etudes;
dante.
VII.

twelve

grand Etudes,

"d'execution

be
a

St.

ies
stud-

ciated
asso-

special

Concerttranscen-

a.

Etudes;

Rubinstein:
Selected Etudes and preludes.
C. Alkan : Selections
his twelve
from
grand
for the most
difficult than
of
part more
any

the aforenamed.

entering upon stage 111.,Theodor

of Octaves
(in three parts)should be

Method
and prosecutedwithout
haste, but
interruption. This extremely meritorious
attacked

is, in

our

etc.); and
"

and
opinion,irreplaceable,

it most

just

as

it

rejected

free

and

ones;

"

Simultaneouslywith
Kuli.ak's

to

fTit keys, together with five narrow

and
criterion, dementi's
judged by which
tional
pianoforte-fuguesmight indeed have claimed an uncondithose of a J. S. Bach.
over
superiority
died
Now,
J. B. Cramer
(born 1771. in Mannheim;
London) comprehended in a far greater degree
i8s8, near
than did his predecessor,representing a more
important
Clementi
artistic individuality.
Muzio
(born 1772, at
died 1852, in England)
whose
instruction,moreover,
Rome;
he enjoyed only in 1789-4. at Vienna, therefore as
and
the necessity of breakingwith that method;
a boy
tory
in his studies are to be found
frequent traces of reformadirections for the lingering especially,
too. in respect
of the thumb, justmei"*
to the old limitation of the activity
broad

seven

elevated

'

b. V.

legato, staccato,

rightof^thethumb

dispensable
migration", which is inin polyphonic
playingand for avoiding perplexities
in transposition
of course,
as a matter
; declaring,
him to be the best pianoforte-composer
whose
inspiration
was
continuallyguided by the external image of the
the key-board, as
twelve
of the the octave
on
half-steps

Heller.
c.

with

the hand, through varying relations of the white

and
black keys which
into play; just as, among
other
come
of
things,it ignored the necessity of different applications
of^touch (/.e.,
the fingersin the case
of different modes

more

"classic ".
the predicate
studies from Op. 2 and Spreparatory to these, Haberkind

out

(selection

Tausig).

widely disseminated
which
deserves
unconditionally
b.

"

Parnassum

This old method

appears, after all,to have
of circumventingall diffithe chief purpose
culties
of
endangering the preservationofii quiet position

old method.

merits.

"

also without

special work
justlyclaims

"

But

tioned.
he

feared

finally

obliged
favor

of

has

gone

never

those

figures

essentially

method;

old

just

Hummel

(not,
in

mean

we

according

as,

concertos

Mozart

induced

the

on

by

the

to

his

principles,

other

original,

the

practices

to

their

to

the

in

the

of

of

pyramid
to

antiquating

said

the

have

"-ization

Hummel
with

played

Hummel's

"-ung]

hummel

[Ver-"

fingering

own

be

sufficiently

as

the
is

and

life
found

be

to

labors
in

that

of

to

of

the

renheit
Fah-

mation
infor-

composer,

Universal

Fetis:
first

Universelle),

(Biographic

set

creative
Cramer

Reaumur.

Concerning

should

metrono-

B.

resembled

have

more

entire

J.

of

It

and

an

compass

may

propriate
ap-

music.

of

to

during

the

to

that

to

Beethoven,

is

(who

also

"

"

respect

pieces

as

with

Maelzel

relation

normal

our

simply

defective

but

them,

happened

as

Schumann

after

period),

the

delivery

that,
with

mized

practising

origmal,

excessively

appear

merely

hut

as

the

from

they

us

not

cases

in

taken

possible

recently

those

hand,
their

not

be

to

is

upon

of

which,

signs,

exactly

that
of

majority

in
he

pianoforte

the

the

time

still,

lingering
of

conceal

not

can

in

metronomic

copied

are

"

back,

future;

another

invention

the

we

the

to

already,

said

fast

ways.
self
him-

looked
the

reference

been
he

old

deemed

who
of

force

to

as

which

appears

author

and

usage,

the

editor

intuitions

far

so

in

pieces

the

the

showing

into

With

attacks,
out,

practical

relapses

edition,

suppress

one

earlier

of

his

of
them

carrying

shows

this

to

the

boldness

the

tyranny

frequently

preparing

in

by

consistently

the

to

and

Now,

of

result

yielded

forthwith

frightened

if,

as

the

Biography

edition,

ed..

[2nd

1866

"

in

forth

his

method

for

without

pianoforte

the

facilitation

us

its

remarks

trouble

the

become

in

that,

and

in

by

the

has

care

further,

given
in

with

writing

to

parallel
the

left

the

hand

luxury

of

in

the

double

two

studies,

sary
neces-

historic

form
this

lower

all

"slurring";

establish

and

one

pensing
dis-

of

in

1810

the

the

excellent
last

the

repeated

of

than

more

mere

Breit-

with

?)

bngland

first

and

in

Musical
is

book

of
"

and
studies

as

being

as

that

(18015-1810).

etc.

Hans
Munich,

CoPVRKiMT,

G.

SCHIRMHK,

May,

1875.

","

1868.

the

Gazette

mentioned

editions,

collections

cerning
con-

Cramer's

of

appeared

General

the

five

"quinquennium

of

thing

any

be

in
in

we

relation

despite

able,

book

through

passed
most

in

appeared

it

outset;

the

publication

(when
to

Zeitung),

musikal.

already
of

second

referring

on

exactness

would

which

ol

by

successors.

successive

the

The

Hiirtel

(Allgem.

having
staff;

of

to

advertisement

performance,

parts,

dates

interest.

kopf

as

the

the

with

History

the

at

said

been

not

ascertain

to

(Uni-

Klavierspiels),
to

there
and

have

we

endeavors,

is

predecessors

his

to

referred

was

what

to

Unfortunately,

we

staff

upper
for

upon
of

movements

us

in

text

the
hand

Cramer

.s7"j(("(Z/o-points.

following

upon

right

the

to

the

possible,

Weitzmann,
subscribe

known

to

and

F.

fully

exactness,
made

seemed

display

to

as

of

principle

all

taken

been

assigned

notes

revision

delivery,

more

sketchily

legii/o-s\urs

intelligible

immediately
modern

rather

the

to

respect

of

with

out

carry

Similar

author.

Special

to

intentions

the

detail,

in

and

best

C.

in

mention,

to

signs

dynamic

the

of

point
it

thought

have

in
will

use,

The

etc.

des

(Geschichte

Music

of

Encyclopedia

Tonkunst),

der

Pianoforte-playing

spare

which,

practical

desire

we

study

work

our

with

Still,

self-evident.

passing,

in

connection

in

versal-Lexikon
each

to

that

generalizing

of

place,

special

appended

Universal

Gassner's

1889];

whatsoever.

aggravation

or

instructive

The

ernizing
mod-

any

"

von

Blilow.

had

Fifty

Pianoforte-

Selected

Cramer.

J. B.
AUcgTO.

{0

Studies

l:ti.

JJ

JJ J

'

J^

r ,r

(1.

*i

Th''

'^""'''"''''"'"

fjirures givi^nin brackets

are

the oriirfnnl

numhrr.s

nf the '''tiiries
in t!ii-lir-l "''iitif.n
of rr.inii-rs "^1 relcbrafed

1899,bi/G.Srhirmer
CnjMjright,

'/.-

1927. fit G '"'"'.."mer

Coj,ijrig/Urtiifii'ala.ssiff7ied,

Inc.

I'lini-J

ir. 'i.-

L'.s. a.

l^\\^

TDirn

%J

j^
a

rre.vr.
1

frXTrLT/^'^^

j^j { rn^ j^j'J J

J

(^l."
Each

hand
should first practise its part alnne, in
tempo and with a uniform
degree of loudness
Then, by way of a test, try to play in faster tempo and
instead of the previousy^y
/'/a If the
an
even
mezzo-ji/ano
the first
slightestindistinctness should be detected,
resume
method
of practice. Both
hands
not
must
play together

slow

IjjJ J J J J J n^J nJJj ^

J J

rable

injury.

until the

mechanical

of execution

with

then be worked

difficulties

cresrfiidns

out

along the

and
same

are

overcome.

The

study

Execute

must
etc.,
dimhiiiendaXj
i.e., before the
lines;

learned to perform
each must have
play together,
of the dynamic
part alone with strict observance
of expression. These
marks
rules apply, of course,
to

The

chords

the

tones

f3.i The

teacher

must

Etudes.
insist upon

a
systfmnt ic arpegfigure occurs; and discourage with
equal strictness the habit of breaking the chords wlicre no
marked. The slightestlatitudeallowed
in this
arpeggiois explicitly
will work irrepamatter,at the beginning of instruction,

giatioo,wherever

1764

this

thus:

follows

its

all these

10;

measure

chord
as

hands

study of

the secondl

the

firstarpegyio'd

difference

and
in

in

part

the different

combine.

measure

would

on

of these

in the exec^ition

depends, in part,on

1, is

manner

evident
a

mode

from

two

different
in which

necessity for the

The

result from

their

the lack

of execution

snccess/re

arpeggio'd
time

-value,

the chord

arpeggio

of fullness

which

similar to that in

10; because, in the former case, the right-hand

val
part would merely double the left-hand part at an inter-

measure

of 3 octaves.

A11"'OTO.(J
S8)
=

ten.

s em

pre
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T=FH

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PP

f/i'ni.

-4^

f
1. To

derive

benefit from

this number,
practisint^

prime importance to firmlyset

their keys.
on
2. The

I7("

movement

of the

and

middle

retain

it is of

the outer

gers
fin-

while
melodic
in

fingers in both hands,

even

and

ascending,

always bring out the natural

figure: i.e.,aslight cresce/n/n
in descending.
slightdiminuendo

must
light,

expression
and

of the

Moderato

I7"4

13^.1
espressivo.^J^r

.,

apparent unimportanceof the part assignedto the

the pupilinto imin this Etude, should
not mislead
that the rule for the separate practiceof each hand,
aj^ining:
g-ivenunder N9 1,may possiblybe dispensed with here. On
1. The

left hand

the

interest

the execution

1761

will tend to stimulate

in this very case
ther
furin the number, and thus indirectly

contrary,its observance
musical

(20)

-^

of the

right

hand.

Z. A

partial alteration

at first

glance

necessary
the

here

may

seem

convenient

(as in various

other

an

essential

the hand.

condition

struck

the editor

caseSi) in order

emancipation
for

which

"

"

to

as

give

possible opportunity for

neglectedfourth finger every

individual development.This
is

fingering-

of the Cramer

correct

of the fourth finger

manner

of holding

\-

Allegro con

i3.i)
spirito.("z

"

I III

M_y

_'

I-"

'

UM

li

^^

=J

I7)"t

'Tj

10

AllegTo

mod"M'ato.

("

lu)

(22.)

^^M

i; /V^

'"/"'"-v^'^^^

1764

^^^

11

A
would

of
transposition

give

this Etude

still better

practicein transposing
176*

into G

test of its
cannot

minor

.ind F minor,

pr.ictical
utilitjibesides,

be too

early recommended

as

an

advantageous
musical

influence

on

the

development. Compare

pupils ear
the Preface.

and

eral
gen-

13

Modf'i'iifo.'*i()(
-

sempre

^"=^ fc^p" I
"

/^

XIE
40t:

2=r

17 til

"'

"

If^nfo

S:

Ei^.rrr

(li
both

In
in

The

editor'sexperiencein teaching'
kis convinced

him

of the

inal
comparativeuselessness of this Etude in the origis transposedinto T"\".
key of D major, and of its utility.
the orio^inal
small hands,
key, a jcood piano-fing-erin^for
lepato,could not be found for the transition
uninterrupted

between
(Z)

Too

the very first two

g'reatcare

cannot

measures.

be bestowed

on

firmlyholdintr

down

the thumb

while

to take the last eighthis turning over

forefinger
Sufficient attention is usuallynot paidto such "preliminary
practice"to polyphonicplajing.

note.

of the left hand

in

measures

9, 13 and 14,

the

ommended.
transpositionof this Etude into C major is also recThe unavoidable
changes in the fingeringmay
be left to the teacher'sinsisrht.

(3) A

I7u"
T/^

TDD

OW^Tl

fnili.i

14

Moderate

con

(J 132.)
espressione.
=

(10)

I7B4

15

(20)

This
(1.)

Etude

is to be

for
study in velocit}'

the

considered,first
left hand

The

of

all,

as

This feelingshould be expressedby an

(though not too pointed) of tones marking

modulations.

Of

course,

in
multiplied;

repeated

accent

on

such accents must

measures

this lowest

1 and
note

2,

is not

for

not

sive
succes-

be

it

modes

necessarily
un-

instance,a

allowable.

accent.

(8.)
Separatepracticeby the right hand will prove no
less beneficial for an
and elegant execution.
intelligent
The
served;
apparentlycomplicatedfingering must be strictlyob-

tion
accentua-

was

derived from

of

melodic

The
(3.)

touch, and
phrase.
turn

in

meas.

29

consideration of the

of the

correct

may

be

"declamation"

playedin

two

various
of the

ther:
wa3's; ei-

In

measure
5, on the other hand, besides the first and third
beats, the G and the Al;(on the second and fourth halfbeats respectively)
to be slightly
are
sures
marked, and in mea6 and 7 each beat; whereas, in meas.
23 and 31, the
second
beat, on account of the unchanging harmony, ad1764

no

mits

for the leading

time, to stimulate a feelingcare, at the same
of the bass amid the endeavors after a smooth and even
touch.

of

teacher should take

(hI'FJ'"3]j-Jror:
the

the
bass

because
latter,

iji^U^^; the
it

editor,
however,prefers

maintains
the rhythstrictly
mical
of the melodic succession
integrity
(syncopation of
second beat);neither can
the dissonance of aI" againstt'
more

"

(second half of second

beat) be considered

offensive.

1("

Allegrobrilhmte. (mr\e,-i.

f-

"

"-"""

"

"

-"

"*

"

i """"^'jtr

""

'

i:^
--"

g .1 I
.

i?
.

'

"

?i*E=

I
..

I7t"4

t^
"
"tfcj^H"=^
"

"^

.{

^^^^^^^^^*^JJ^

18

Modorato.cJrt..;

marcnto

(20

U\.'^^\,"^^-mm
^

^3

^m

^^^

,,^^

Y^^^ZT^^.

ro^TJ

PM^
^i?*

1764

"^#

IBS

Z2Z

^^^^^S
m

,.,j^^

^^"
r
vresc.

^^

35'

^^^^^ i^^

'4

19

^^

^jiiU2ZjJ^}m
jj:sj^\

?ar
"9-

dimin.

-^

-.

"

"

fc:ilXOL

(50)

__,

S^=sS^

P
"

^^

(55)

te

-^

S5
pgf^

1^8

S ^

full

of the

be

profitfrom

fourth

that the number

least

'3

and

of movements

the exercises

fifth

pendence
for the inde-

fing'crSjWe

in each

measure

should

al

cases.

(3.)While

recommend
at

doubled, thus:

(2.)Hands

of small

1,4,

facilitationsare
1764

12

dimin.

neglect

pursuing

the

modulatory

study

only
stretchingcapacitywill find
and 28 of specialdifficulty.
Admissible

left to the teacher'sjudgment in individu-

minor

of this Etude,do

aims
form

and

its melodic

not
and

content.

will prove

exercises

the technical

of its classic

(4.)Transpositions

measures

^s

SeS
te^

iSS

derive

(1.)To

ttza

in the
in

of this Etude

very

into

practicalutilization

harmony.

CS

minor

and

and
both techniccilly
beneficial,
of

elementary

B
as
quirements
ac-

20

AllegTo lion

troppo.Jr7;j

fSJfrrffP^^
"S^rrrggp^f^gg^r^r
,

17b"

1. A

certain

being
continuity

both

practicaland

necessary

in every special study,

the editor has placed the presentand
trill-exercise directly
after the foregoing
the next-following
exercise

for the fourth

that

once,

new

Etude:

in the

and

fifth

fingers.It will

feature, of technical

be

seen

at

developmentappears

fingers are combined

over,
uniformlylightand agile touch. Morebe trained to contract swiftly after
the weaker

present
stronger in a
the fingers must
sudden
extension; while the hand is to be so habituated to
of motion, that the finger-movements .ipparquietplasticity
entlyleave it quiteat rest.
with

the

2. The

editor

stress
laysparticular

on
an exact
ing
fingerexperience with the power of the
taught him, that a fingering like the

for the left hand.

law

176H

of inertia has

His

usual

convenient

one:

the

following audible (or rather inaudible)

By

such

caused

an

the most

leading
those

of the

"

in the Presto

of the Beethoven

N9 Z, meas.47, 48,53 and

our

modern

against
case

more

because
especially,

pianos

the aforesaid

when

54, which

sonata

Ci minor
have to be

op.27,
played^p/.-/-

similar fingerings for their

require

///y, besides

execution:

result:

arc
polyphonicpieces,
absurd misconceptions with regard to the
as, for example,
parts. Passages in thirds

amateurish execution, in

the Vienna

renders
law

of

the

correct

deeper key-fallof

it far mor"5 difficult to contend

the
than was
probably
inertia,

was
pianoforte-action

employed.
generally

22

Audaiite. f#\iij-)
"7?

te
11.

sinnlc

^^

li^J^^ r;h

5Sa

M"

^5)

r.h

rj

".:

Ifi^iitii

"ln/rt-

Vi

Cos.)

^^

(10)

:" 4

/""'

^
1
1
/;//"

)s

1764

"." 1
"""
"" ^

^
^'

111-'

"i

\4

iF;e"

"

i *-#

5 4

:t

it"=^

rj 't

23

(40)

(1.) Instead
the

of four

original,the

(2.) The

trill-notes to each

editor

beginning-of

deemed

it better

the trill on

to

in

requiresix.

("i.^
Exceptions
in the left
would

obscure

justifiedby the importance of the trills in this number; by

ment"

the

proper
the

harmonic

re4

regard for the smoothness

suspension-likecharm

of the

after-beat;and

while
gained thereby;

indistinctness is anywhere

induced.

no

(4.)In
hand

are

found

hand, where

higher auxiliary, is

by

the

eighth-note,as

the

in

harmony

85, 27, 35 and 37,

measures

beginning

on

in its most

the

auxiliary

essential

ele

measures

13-15

critical

revision

of the

left-

it being of incompre
part appeared indispensable,

hensible

bass.

meagreness

in the

original.

24

Lento.

"J-76)
cnrifnbile

dolce

(11.)

Wh,r*fr^

i:

ttrrr.

^ ft

"J
i^P

-J
3P

ten.

17"4

4^

^E

quanto pnssibile

26

"^m
^

.%mo

.-j^"'#'^*JJi^

At

^"i*"*^

'"tlj'a"j
^

:4
"TV

^""//.

(20)

/ 4S

u.^jijjjj^j^j
yii^)
jjjj^;j."j"u"j"^

^Wf
^J
i^/^,
If
"

^"4
^m

^
\

^"JgJIJ^JtfJg^J^

Itf
15

1764

j-

rr

T
3

r
'

^idJ'U^.

MfMi

MESZ
44

ten.

"

-i-i-

U^

27

'I-

-O-

J"J#J"^"""^

^0^d^d

d^s^^i^,
^m^d0-A_

^"?". ?7

As

to the preceding'
Etude, the present
in this place.All so-called
appropriate
in piano- playing-,
"streng1h7
dependingon finger agility
obtained by practice,the independenceof the fourth and
fifth fingers,gained by means
of the foregoing Etudes,
be available in the shape of cleanness of attack,
will now
one

seemed

contrast
to be

1764

possibile

playingthe highestpart. By writing out the trills in

editor hopes to remedy that pitiable indecision
of the
leads
in the final movements
which
frequently
in

full,the

"

Beethoven

sonatas

movement

of

op.

53, 109, 111, and

op. 106, for

example

"

perverted practicalinterpretations.

to

also
the

in the
most

first

sidly

S C

E R

H I RM

'

classics

of Musica

STUDIES, AND

METHODS,

PIANO

S E R I K S

EXERCISES

TWO

A.

HENSELT,

C. H.

DORING,
L. 651

Op.

24.

Exercises

L. 1035

Op.

25.

8 Octave

Studies

and

Staccato

in

tave-Playing.
Oc-

Library

L. 44

Op.

2.

Characteristic

12

Concert-Studies.

(Jonas).

DUVERNOY,
L. 316

School

Mechanism.

of

Studies
of
"School
15

Czerny's
Velocity." (Klauser). Complete.
to

preparatory
L. 1292
L. 50

The

.Op.120.
Op. 176.

Bk.
Primaire.

Studies.

Elementary

25

L. 763
L. 764
L. 765

L. 1416

Op.
Op.

50.

24

51.

24

L. 807
I..539
L. 323
L. 324
L. 339
L. 206
L. 326

Studies

Melodious
Difficulty.
First

Bk.
L. 536

of

Steps
Bk.

II.

The

same:

The

Easiest

24 Octave
Buds
and
Studies.

Studies.

117.

The

Lessons.

Op.
Op.
Op.
Op.

HABERBIER,

HANDROCK,

Studies in Velocity.

Studies

First

Scales

on

Blossoms.

Arpeggios.

and

The

same:

Bk. II.

32.

The

same;

Bk.

Etudes. Bk.

I.
III.

J. C.
20.

Op.

Selected Studies. (Deis).

15

141.

Op.

60.

20

L. 318
L. 425

Op.
Op.
Op.
Op.
Op.

151.

12

Easiest

157.

12

163.

16
The

Easy Studies. (Klauser).

Elementary Studies.

L. 196
L. 480

L. 1082
L. 9.35
L. 936

(Ruthardt).

Poesies.

190.
242.

Op. 249.
Op. 300.
Op. 300.

59.

L. 553

Op.

C. L.

L. 925

The

Pianist

Virtuoso

in

60

Exercises.

Easiest Studies.
Velocity without

Very

School
Short
of
Octaves.
Metodo
Practice,
Practical

The

I.
e. Bk.
(Oesterle). Bk.

sp.

Method.
Bk.

same:

2.

I.

II.

10 Trill Studies.

tary
Elemen-

Bk. I: Lower
of Etudes.
Grade.
Bk. II. Elementary

L. 481

School

L. 482

The

same:

The

same:

Bk.

III. Lower

Grade.
Medium
Grade.

T.

KULLAK,

Studies.

Mechanical

Scale-and-

Studies.

C.

L. 483

J.

Studies.

Studies
in Continuous
Chord
Passages.

A.

KRAUSE,

KUHNER,

Etudes-

53.

First

(Klauser).

Op. 50.

L. 543

35

131.

L.

Melodious

12

E.

Op.
Op.

HANON,

Bk.

School
of Octave-Playing.
Preliminary School.

L. 475

Op.

48.

The

L. 476

Op. 48.

The

same:

200

Short

Bk.

II: 7 Octave

I:

Studies.

Complete.

A
T

A
A

25

32.

L. 317

L. 321

without
Octaves.
Easy Studies
and
24 Melodious
Progressive Studies.
Studies for
School
of Velocity.24 Short

130.

L. 299

e.

32.

Pianist.

Young

I.

Op. 82.
Op. 83.
Op. 85.
Op. 100.
Op. 107.

24

Medium

of
the

Beginners.

L. 191

Op.
Op.
Op.

KOHLER,

Studies.

Easy Melodious

The

82.

Op.

L. 535

Exercises. (Vogrich).
sp.

C.

GURLITT,

L.534

and

same:

A.

KESSLER,

Problems.

Rhythmical

L. 1279

L. 801

The

GERMER,

L. 798

Scales

L. 170
L. 1083

JENSEN,

I.

same:

Ecole

H.

HERZ,

B.
The

120.

Op.

Studies.

The

same:

Bk. I.

The

same:

Bk. II.

L. 1073

The

same:

Bk. III.

L. 1081

The

same:

sp.

L. 179

Op.

16

Op. 16.
Op. 45.
Op. 45.
Op. 46.
Op. 46.
Op. 47.

L. 176
L. 1117

1,.177

A
A
A
A
A
A

L. 1120
L. 178

Art

Phrasing.

of

The

Bk.

same:

Progressive

26

LE

II.

I.

for

Rhythm

and

Bk.

24

Op.
Op.

17.

Op.

20.

for

(Oesterle).
for Rhythm
and
24 Studies
(Scharfenlierg).
from

sp.

e.

Op.

"'6.

-Mphabet. 25 Very Easy Studies.

(Scharfenberg).
L'Agilite.25 Progressive Studies for
and
Mechanism
Light Touch.
Studies
to
Czerny's
15 Preparatory
"School

L. 175

Preludes.

Studies

Children,

The

Expression.

LISZT,

.32 Preludes.

Selected

Method

of

Velocity".

H.

I.

The

Op. 81.

50

Op.

L. 67

LEMOINE,

Op. 47.

125.

L. 4.30

L. 63

Bk.

Studies

L. 748

L. 24

the

F.

COUPPEY,

Studies. Complete.

same:

25

Piano

Complete.

The

same:

For

Melodious

I.

Studies.
25 Melodious
The
Bk. I.
same:
30

Canons.

Two-Part

A.

CARPENTIER,

LE

L. 1133
The

L. 1123
I,.130
L. 766

14.

Beginner.

Complete.

119.

M.

Op.

Complete.

Studies. Bk.
L. 180

K.

L. 939

S.

HELLER,

KUNZ,

L. 1071
L. 1072

Expression.

Op. 45, 46, 47.

(Oesterle).

Op.

37.

Etudes

Enfantines.

(Scharfenberg).

F.

L. 8.35

L. 788

12

after N. Paganini.
(;rand
Etudes
(Galileo).
Etudes
d'execution transcendante.
(Gallico).

A
A

SCHIRMER, INC,

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NEW

YORK

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Library

I RMER'S

of Musical Classics
STUDIES, AND

METHODS,

PIANO

SERIES

BERENS,

H.

L. 1070

Op. 61.

L. 504

Op. 70.

School of Velocity. 40 Studies. Complete.

L. 259, Bk. I; L. 260, Bk. II;
The Same.
L. 262. Bk. III.
For BeginPieces
50
without Octaves.
ners.

508

Op. 79.
Op. 88.

The

526

L. 1031

Op. 89.

BERTINI,

H.

L. 137

Op. 29.

Studies without Octaves.

bellishments.
Scales, Chords, and Em28 Studies.
40 Exercises
of the Left Hand.
Studies.

Children

20

"

School

Training
and 25

84 Studies. Bk. I.; L. 143, Bk. II.; L. 144,

Bk. III.; L. 145. Bk. IV.
50 Selected Studies.
(Bulow). Complete.
The Same.
L.828, Bk. I.; L. 829, Bk. IL;
L.
831, Bk. IV.
L. 830, Bk. III.;
L. 1178. Complete, sp.
The Same.

of

Progressive Studies without Octaves.

(Vogrich).
in Passage-Playing. Elementary
125
Exercises
Studies. (Buonamici).
The
School
of Velocity.40 Studies. (Vogrich).
Complete.
The Same. L. 162. Bk. I.; L. 163, Bk. IL;
100

Preparatory to the Cramer

(Vogrich-Buonamici).
Studies. A sequel to Op. 29. (VogrichStudies.

24

L. 138

Op. 32.

24

L. 136

Op.
Op.

Buonamici).
Easy Studies. (Vogrich-Buonamici).
Melodious
Pieces.
Studies from Op. 100, 29, and
50 Selected

L.758

100.
101.

L. 795

25
24

Op. 166.

L. 164, Bk. III.; L. 165, Bk. IV.

50
The
School of Legato and Staccato.
mici).
Studies. Sequel to Op. 299. (Buona-

(Germer).

32.

L.691
L. 1588

Etudes. (Osterle).
25 Primary
50 Selected Studies from
Op. 29, 32, 100,
134
(Buonamici-Cornell). Bk. I;
L. 1589, Bk. II. sp. e.

Op. 80.
Op. 44.

BR.4HMS,

J.

of Piano-Playing.
Elements
Easy and Progressive Studies. With
the left hand.
to
special reference
Bk. I; L.498, Bk. II.

51 Exercises.

L. 1600

BRAUER,

F.

L. 494

Op. 15.

Studies

12

for Development

Preliminary School
(Buonamici).

Velocity.

of

F.

BURGMULLER,
100.

25

Etudes
Etudes

L. 1551
L

33

(Oesterle).

L.

in Style. 25 Finishing Studies.

(Herzog).
(Relle).
Practical Finger Exercises.
Complete.
160
mici).
Eight-Measure Exercises. (Buona-

Perfection

(Friedheim.)
Parnassum.

100

Exercises.

L.167

Gradus

L.780

Gradus

L. 1112
L.376

The Same. sp. f. e.

Preludes and Exercises in all the Major
and Minor
Keys. (Vogrich).

(Vogrich). Bk. I.; L. 168, Bk. II.

ad Parnassum.

29

Selected

ies.
Stud-

(Tausig).

A
A
A

with
The
30

L. 139
L. 141

Op. 24.
Op. 25.

25 Melodic

L. 140

Op. 30.

20

L.1374
L. 226

Op.
Op.

24

L.1030
L.25

Op. 44.

15

Studies

Studies.
in

(Oesterle).

Style and

on

A
A
A

31.
37.

99"T"""Mv.

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IMC

L. 55, Bk. L; L.56,

Studies in Technics.

L.445

plete.
Com-

Bk. IL

Preparatory

Op. 299. (Buonamici).

terle).
Studies.
Anthology. (OesI: Upper
Elementary and
Grades. L.995, Bk. II: Middle
and
Ill: Upper
L. 996, Bk.
Grades.
Middle Grades. L. 997, Bk. IV: Upper
Grades.
and Advanced
First Instruction in Piano-Playing. 100
An

Lower

INC.,

-^".^^^WVV^^-",^^^^^".i^^y^^^^.^^^^^^^.^^^::g:^

M"t""i

ning
Exercises, beginRudiments.

Bk.

15 Studies in Style. (Deis).

in all the Major
Brilliant Preludes
and
Minor Keys. For Small Hands.
15 Studies in Expression, (von Doenhoff)
30 Selected Studies. (Oesterle).

G. SCHIRMER,

New

Pianist. 75
the First

Selected

the Singing Touch.

(Oesterle).

Same.

to

Expression.

(Oesterle).
Studies

Little

The

G.

CONCONE,

v.; L. 160, Bk. VI.

Bk.

(Mikuli).

ad

of

in Brilliant

M.

CLEMENTI,

Finger Dexterity. 50 Studies

Style. (Vogrich). Complete.
L. 155, Bk. I.; "L. 156, Bk. II;
Same.
157, Bk. III.;L. 158, Bk. IV.; L. 159,
Art

The
The

Studies

(Scharfen-

burg).

terle.

Op. 109. 18 Characteristic

F.

L. 752

CHOPLN,

vura
in bra-

of Finger Dexterity.

Studies for the Left Hand.

24

Easy and Progressive Studies. (Oesterle).Complete.

The Same. L. 977, Bk. I; L. 978, Bk. II.
Op. 105. 12 Brilliant and Melodious Studies. (Oes-

Op.

Studies

style. (Buonamici).
110
Easy and Progressive Exercises.
(Buonamici).
culty.
Studies in Progressive Diffi6 Octave
(Schultze).
mici).
(Buonafor
Beginners.
Practical Method
and

The
25

(Buonamici).

the Virtuoso.

of

School

L. 530
L. 497

L. 755

Daily Exercises.

40

BIEItL, A.

L. 500

(Deis).

Etudes.

25 Melodious

Studies

EXERCISES

ONE

Recreations.

(Ruthardt).

NEW

YORK