Karl Czerny

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Czerny, Karl

(chĕr`nē), 1791–1857, Austrian pianist; pupil of Beethoven and teacher of Liszt. He is known for his technical studies for the piano; his numerous other works are seldom performed.

Czerny, Karl


Born Feb. 20,1791, in Vienna; died there July 15, 1857. Austrian pianist, teacher, and composer. Czech by nationality.

Czerny was initially taught by his father, Wenzel Czerny; from 1801 to 1803 he studied with L. van Beethoven. He established the Viennese school of piano playing of the first half of the 19th century. His pupils included F. Liszt, T. Leschetizky, T. Döhler, T. Kullak, and A. de Belleville-Oury.

Czerny is the author of more than 1,000 compositions, including symphonies and religious and chamber music. The bulk of his oeuvre consists of works for the piano, among them arrangements and transcriptions of compositions by other composers. His numerous exercises are still used in piano teaching. Czerny’s compositions and his approach to pianistic technique reflect both classical and romantic influences and a striving for a lyric and expressive style of playing.


“Recollections From My Life.” The Musical Quarterly, 1956, vol. 42, no. 3.


Roizman, L. “Karl Cherni i ego redaktsii klavirnykh sochinenii I. S. Bakha.” Sovetskaia muzyka, 1940, no. 10.
References in periodicals archive ?
Perhaps a similar sobriquet should be bestowed on Carl Czerny as a stepping-stone to a greater, deeper appreciation of what Biedermeier Vienna really meant.
1839 Carl Czerny, Vollstandige theoretisch-praktische Pianoforte-Schule von dem ersten Anfange bis zur hochsten Ausbildung fortschreitend, und mit alien nothigen, zu diesem Zwecke eigends componirten zahlreichen Beispielen, in 3 Theilen, op.
1840 Carl Czerny, Die Schule des Vortrags und der Verzierungen, op.
1868 Carl Czerny (Simrock) Numerous reprints 1869 Louis Kohler (Peters) 1910 (Kohler/Ruthardt; Peters) and 1943 (Novello) 1871 Hans von Bulow/Sigmund 1894 (Schirmer) and Lebert (Stuttgart, J.
After Hrncirik's detailed introduction to and characterization of church music in the Biedermeier, the remainder of the volume presents case studies of Biedermeier musicians (Randhartinger, Joseph Eybler, Anton Diabelli, Carl Czerny, the Maschek family, and Tirolean church music composers), locales (the pilgrimage church Maria Taferl and Atzenbrugg/Heiligeneich), and compositional approaches (operatic music parodied for the church and songs of pilgrimage in Lower Austria).
Additionally, if concert audiences were as rowdy in the nineteenth century as Hamilton suggests, then recommendations for preluding in treatises by Carl Czerny or Philip Anthony Corri could serve to bring the audience to attention.
In correctly pointing out that Hummel's later fall from favor was related to his reputation as a performer in the "old" school of Mozart, Kroll makes an error, however, in asserting that Carl Czerny attacked Hummel's "Mozartian" playing as "as monotonous as a barrel-organ" (pp.
Paul and Anton Wranitzky, Franz Krommer, Anton Eberl, and Carl Czerny are all represented by extensive music examples that illustrate their unique styles.
1 (1826; the first published salvo of the young virtuoso); 12 grandes etudes followed, dedicated to Carl Czerny (1837; from the midst of his career as a touring virtuoso); and finally Liszt revised it again, and it took its most familiar form, the Etudes d'execution transcendante (1851), also dedicated to Czerny, and dating from the crossover period when the composer had stopped touring and was moving directly into more concentrated composition and conducting.
Beethoven gave the work its first public performance in December 1808, some four months after the appearance of the printed edition and, according to Carl Czerny, played it very "capriciously, inserting in the decorative passages many more notes than were written" (Nottebohm, 75 [my trans.
Among these, we find the innovative scalar concepts of Dennis Sandole, the study methods of lesser-known figures like Ted Nash and Sigurd Rascher, the piano-exercise books by Charles Louis Hanon and Carl Czerny, and Barry Harris's codification of bebop scale patterns.