However, we have to know where to look and how to look. At the beginning of 20th century, most prominent pianists would have direct lineage to Czerny – through Liszt, Leschetitzky and other students of his, and would keep implementing Czerny’s way of teaching piano playing for the next generations of pianists to come.įrom my own experience I can say that if there are any technical problems with the repertoire one is studying, using the appropriate etude by Czerny very likely will solve them. Though being a scrupulous teacher, demanding precision and quality, he also demanded depth of feeling, elasticity and freedom of delivery. So useful for playing, say, Chopin’s Nocturnes). In his exercises and etudes he covered pretty much every single aspect of classical and romantic pianism (and for those who might be thinking that all of his etudes are about playing fast – this also includes playing slow cantabile, or I would even say – bel canto. However, this cannot be further away from the truth.Ĭzerny’s pianistic and pedagogical legacy is one of the most important in piano teaching history. It is quite sad to see though, that they are commonly viewed as “second rate” and designed for “drilling” technical skills only – something like Hanon, just with a more complex texture. Czerny created an enormous amount of extraordinary teaching materials for everyone from beginners through to concert pianists.
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