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Form #0567
-^ -^
^ ^ ^ ^ ^ ^ ^ ^*- ^ ^ ^ ^ ^ ^ ^ ^^^ ^ ^ ^ ^ ^ ^ 50 STUDIES--Bk.
Cramer.
.Sta
Piano
1
f^ SCHIRMER'S LIBRARY
u
OF MUSICAL CLASSICS Vol.
828
J.B.CRAMER Studies
Fifty
For the Book
Piano I
(BULOW)
1.40
%^>-'>-^^^>.\^ >-'^^\^^'>^>-^^^ '
'
'
'
SCHIRMER'S LIBRARY OF MUSICAL CLASSICS
Jean Baptiste Cramer Fifty
Selected Piano-Studies Systematically Arranged, Fingering and
Expression-Marks Critically Revised, and Provided with Instructive Notes by
HANS VON BiJLOW
DR.
Translations by
ALBERT
R.
PARSONS and
B.
BOEKELMAN
Newly Revised by THEODORE BAKER
DR.
FOUR BOOKS
IN (Also
Book
I
Book
II
Book
III
Book IV
In
One Book Complete)
— Library - Library (Nos. 13-25) (Nos. 26-38) — Library (Nos. 39-50) — Library (Nos.
(Complete)
G.
1-12)
Vol. 828 Vol. 829 Vol. 830
VoL
831
Library Vol. 827
INC. SCHIRMER, New York Copyright, 1899, by G. Schirmer, Inc. Copyrigtit renewal assigned, 1927, to G. Sctiirmer, Inc. Printed In «h« U. S. A.
0'^5al. OB^U c
PREFACE To mention in encomiums, what
and with a mere repetition of universally recognized and has often been said concerning the inestimable value and enduring importance of J. B. Cramer's pianoforte-studies, as a cultural means for the pianist's execution and delivery, with the excep(a means not only unexcelled, but also
triad in an artistically correct manner, not to mention other surprises for the examiner. Now, the practical ill-success so frequently attendant upon the study ol Cramer's Etudes is owing to c.iuses which it is the aim of this edition to obviate. First among these is the nonohseri'ance of a svstematic suecession. 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 firstnamed edition, which lay before us in our work, and, indeed, as represented by a revisional copy provided with
detail,
is
—
"Gradus ad Parnassum
Muzio dementi's
tion of
which they serve
most
— ",
for
suitable preparation one as yet but approximately equalled by any other collection of studies.) can not, of course, be the purpose of these lines.
If
Fetis,
as the
Romanic musical authority of the them as " eminemment classiques",
the
present, designates
in Cramer's own handwriting (this copy, belonging to Mr. Spi'tzweg, at that time at the head of the publishing house of AibI, served as the standard for determining exactly all signs of time and expression), also
corrections
and if of his German colleagues, Franz Brendel and C. F. Weitzmann, the former, in his history of music, terms them "a foundation marking a new epoch for all solid " and the latter, in his history of pianoforte-playstudy ing,* [Engl, translation, New York, 1893], numbers them
contains
;
among
the
classics
of pianoforte-literature
in
of the work here newly issued to the public in a specifically instructive edition. Perhaps it will not be superfluous to say a few words in justification of the new
work
be found
all
tically
"ploughing through
in
—
schools of music, a similar specialization of the study of the German intellectual giant in tones, Bach, who is comparable to a Dante only. To the necessary play Bach beautifully and with finish is a task wliich is only to be demanded from those cerebral conditions abstracted pianists who have attained complete mastery over the material, and who also,
first
arpeggioed
i,
example, no longer brokenly stumble through Beethoven's last pianoWhither attempts to assimilate the works of Bach from the standpoint of the pianoforte-chair specifically tend, is most alaimingly shown by Czernv's celebrated edition of them, the transitory merit 0/ which we would not question, but against an uncritical use of which an einphatic warning must be given in the interest of a true understanding of Bach. Moreover, with the above remark, it is not intended to say that the introduction to the playing of Bach (preludes and inventions) may not, according to individual data, begin even simultaneously with th* study of Cramer's Etudes. for
forte-son.itas.
shows
C major
* A copy of which, with iti.inuscript revisions .mil additinns, has been intrusted by tiie author to the- present translator for the preparation of an English version.
tm
—
—
;
himself incapable of striking the
recommended.
* As there was once, in Florence and at other Italian universities, a Dante faculty (Boccaccio was tlie first occupant of this chair of instruction), the members of which confined their philological labors simply to the enigma of this mighty sphinx, so tliere might be in place, in fiigh
or less pedanbook, and perhaps
on being suddenly again confronted with No.
to be
—
the second also, which naturally is then, as a rule, more quickly finished; or else the whole number, eighty-four, are really in turn hurriedly quitted on accomplishing which, in nine cases out of ten, the but slight positive result appears, that the player who has reached No. 84.
—
is
correct tact, Mr. Tausig has eliminated the intrinsically very valuable pieces in the severe contrapuntal style; for the pianoforte-fugues and canons of Clementi, far from offering a fit means of preparation for the Welltempered 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 preparing 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
more
first
intelligent pianoforte-teachers,
With
well-considered and methodic emplovment must have for result the gain of a firm foundation for virtuoso-discipline in the good sense, nay, the gain of an alreadv comparatively developed degree of mechanical and intellectual ripeness on the part of the player. But with what want of thoroughness, with what unthinking routine both pupils and teachers proceed through them! Either the
The same considdementis "Gradus ad Parnassum"
over-great quantity.
recently induced the Court-pianist to the King of Tausig, to edit an anthology of that work, accompanied with valuable directions for their correct practice, which is published in Berlin by Bahn (Tr.iutwein's), and the adoption of which, on the part of
its
"
1
.0^-1
lod
in
Prussia, Mr. Carl
—
all told,
supplement, illy issued
Hamburg), which have been
has
;
the instruction consists,
in their
eration in the case of
additional directions for the fingering: the entire work was afterward similarly edited by Julius Knorr while, quite recently, Mr. Louis Kohler has issued, as the opening book of his "Classical High School for Pianists", a selection of thirty studies, with glosses in part highly useful. It is idle critically to review the editions named, since the new one here submitted originated solely in their criticism. The old need has simply remained unsatisfied, and the attentive observer of the doings of the pianoforte-playing world can not escape the perception of how seldom it is in proportion to their universal dissemination that the cultural material proffered in Cramer's studies is exhaustively utilized; while their
—
in
remedy this evil, no claim is l.iid 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 cause of the qualitative resultlessness of the study of Cramer's Etudes is to
although only through careful itself will the purpose of the editor become perfectly clear. The need of such an Louis instructive edition has been often felt already. Berger (born 1777, and dementi's pupil from 1804-10) deemed it necessary to edit the first twelve studies with of the
studies
to
(or elaboration),
inspection
sixteen
comparatively but little disseminated, and the chief purpose of which, evidently, was only to make up the ceremonial number of 100. Accordingly, their non-consideration in the present edition w.is not prompted solely For our attempt by their character of a private domain.
respect
and form, these consonant opinions of the most renowned aestheticians and theorists really but state a fact, the great consequence of which speaks to us most loudly in the universal dissemination and popularity alike to contents
edition
the
Vienna (surreptitiously
""
JEW YORK PtJBUta LIBIART FOR THBLPEafCBBam* ^^ ABni
T^^^ KmS^
40 LINCOLN- CENJSJT' NEW YORK. NT
be reproached for not having proceeded radically enough, and for having given too much space to repented representations of tliat which is hofnogeneous. To this it might be replied, that practical experience demonstrates the adPrecisely in connection with vantage of such readings. the necessity of acquiring by perseverance any special kind of mechanical expertness, the charm of a certain variety in homogeneity tends to refresh and stimulate, on the one hand, and on the other to promote and determine, and also, occasionally, as a counter-experiment, to 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 develinstruct.
the frequently misused title, "indispensable du pinniste". To refer here to other specialties of a subordinate nature, for purely
mechanical ends, would extend
this preface too
far.
Finally, a third circumstance might be mentioned in justification of our 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 proportionate to their want of consistency, were in need alike of augmentation and alteration, in'order to help the in performer to attain the purposed mechanical aim. order to prevent misinterpretation, we will elucidate
more
this
6. Cramer is the forerunner of J. 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 Lf.bertStark is most to be recommended as. to the best of our knowledge, the most substantial help, the following are
apparently irreverent reproach His labors' fell on the boundaryline between the earlier and later periods of pianoforteplaying, of which the latter, keeping pace with the increasing perfection of the instrument, and the enhanced demands resulting from it upon the performer's 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 pianoforte-playing, we now lay stress upon the unevenness, resulting from the local relations of black and white keys, of the field forming the scene of action for the performer's Our aim, therefore, is chiefly directed to renderfingers. ing the fingers independent of that unevenness, and, by means of protracted gymnastic exercise, to enable them to move about on the black keys in a manner as light, free,
in place:
secure,
—
dementi's Gradus coupled, to be sure, with oped it greater difficulties may be remarked, that in a regularly graded succession of those collections of studies which are to be employed for complete cultivation in in
—
pianoforte-plaving.
Clementi.
In
this
The
studies of Ai.OYS Schmitt, Op. i6, together " with the Exercices Freparatoires ", always to be practised in all twelve keys which form the introduction Fhlix to the first book. It is worthy of mention that Mendelssohn-Barthoi DY, who was an eminent master as pianist also, laid with this work the foundation of his I.
a.
—
—
classical technique. b. In contrast to the relative
II.
b.
dryness of Schmitt,
a col-
use of Stephen Heller, Op. 43.
lateral
a.
J.
B.
Cramers
St. Heller:
studies.
Op. 46 and 47.
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 c.
C.
merits. a.
III.
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 ". IV. a. Henselt: Selected studies from Op. 2 and s b. Together with, and as preparatory to these, Haberbier: "Etudes-Poesies"; a kind of continuation of St. Heller.
J.
B.
Cramer.
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 taking pains to deliberate, to transpose a given pianoforte-piece to any key he may choose; a modern virtuoso of the genuine calibre must be able to perform Beethoven's Op. 57, for example, as In such a case, conveniently in Fit minor as in F minor. the construction of a suitable fingering, which must be based exclusively upon a correct rendering of the musical without respect either to the relations of black phrase 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-
—
—
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., culties
;
between
letiato,
that right of the
dispensable
in
staccato, etc.); and just " free migration to
thumb
polyphonic playing and
mechanical tendency) from his Op. 28. VI. Liszt: Six Etudes after Paganini; three ConcertEtudes; twelve grand Etudes, "d'execution transcendante." VII. a. Rubinstein: Selected Etudes and preludes. b. V. C. Ai.KAN Selections from his twelve grand Etudes; for the most part more difficult than any of the aforenamed. Simultaneously with entering upon stage 111., Theodor Kullak's Method of Octaves (in three parts) should be attacked and prosecuted without haste, but also without This extremely meritorious special work interruption. :
our opinion, irreplaceable, and
it
most
justly claims
as ",
it
rejected
which
is
in-
for
avoiding permatter of course,
plexities in transposition declaring, as a him to be the best pianoforte-composer whose inspiration ;
Selected pieces by Moscheles: Ch.iracteristic studies (Charakteristische Studien). Op. qsV. Chopin: Op. 10 and 2s, with which may be associated the study of the single Preludes (of a special c.
is, in
particularly
against
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 ones; judged by which criterion, Clementi's pianoforte-fugues might indeed have claimed an unconditional superiority over those of a J. S. Bach. Now, J. B. Cramer (born 1771, in Mannheim; died i8s8, near London) comprehended in a far greater degree than did his predecessor, representing a more important
elevated
17^2, at individuality, Muzio Clementi (born whose instruction, moredied 1852, in Engl.ind) over, he enjoyed only in 1783-4. at Vienna, therefore as a boy the necessity of breaking with that method; and in his studies are to be found frequent traces of reformatory directions for the lingering especially, too, in respect to the old limitation of the activity of the thumb, just mea-
artistic
Rome;
—
—
—
tioned. But as if, frightened by the boldness of his attacks, he feared the result of consistently carrying them out, and finally yielded to the tyranny of earlier practical usage, he
forthwith and frequently shows relapses into the old ways. Now. in preparing this edition, the editor deemed himself obliged to suppress the author who looked back, in favor of the one showing intuitions of the future; still, he has never gone so far as to force another lingering upon those pieces in which the invention of the pianoforte figures appears essentially induced by the practices of the old method; just as, according to his principles, the Hummel concertos (not, on the other hand, those of Mozart we mean in the original, not their antiquating " Hummel "-ization [Ver-" hummel "-ung] ) should be
—
played with Hummel's forth in his
method
own
— as sufficiently set — without any mod-
fingering
for the pianoforte
ernizing facilitation or aggravation whatsoever. The instructive remarks appended to each study spare us the trouble of generalizing that in our work which, in its
special place, in connection we self-evident. Still,
become
with
practical use, will desire to mention, in
passing, that, in point of the dynamic signs of delivery, we have thought it best to carry out with more exactness, and in detail, the intentions rather sketchily made known Similar revision seemed to us necesby the author. sary in respect to the legijlo-s\urs and stJi'rato-pomXs. Special care has been taken to display the text in a form as immediately intelligible as possible, following in this the modern principle of writing upon the upper staff all notes assigned to the right hand for performance, and all given to the left hand upon the lower staff; further, in parallel movements of two parts, of dispensing with the luxury of double "slurring"; etc.
With reference to the metronomic signs, which, as hai been said already, are copied exactly from the origmal, we can not conceal that to us they appear excessively fast in the majority of cases not merely in respect to the time to be taken in practising them, but also to that ap-
—
It propriate to their delivery simply as pieces of music. is possible that, as happened with Beethoven, and more recently with Schumann (who is said to have metronomized 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 Fahrenheit to a Reaumur. Concerning the life and labors of the composer, information is to be found in Fetis: Universal Biography
(Biographic Universelle), first edition, 1866 [2nd ed.. 1889]; Gassners Universal Encyclopedia of Music (UniThe History of versal-Lexikon der Tonkunst), etc. 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 repeated endeavors, to ascertain with exactness any thing concerning the dates of the successive publication of Cramer's studies, to establish which would be of more than mere historic interest.
kopfand
The second book appeared with and (when in bngland
Hartel in 1810
.?)
;
Breitin
the
advertisement referring 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" (1805-1810). Hans von BOlow. „,„ Munich, May, 1868.
CoPVRIGHr, G. SCHIRMEK,
1875.
Fifty Selected Pianoforte -Studies bv J.
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an even
///^^ir''>-/'/ff»«
instead of the previous /?;/'/ft If the
slightest indistinctness should be detected, resume the first method of practice. Both hands must not play together until the mechanical difficulties ,ire overcome. The study of execution with crexrendits and dlminiienddSj etc., must
then be worked out along the same lines; i. e., before the hands play together, each must have learned to perform its part alone with strict observance of the dynamic marks of expression. These rules apply, of course, to the study of all these Etudes. (2.) The teacher must insist upon a xysti'tnntir arpeggiatioo, wherever this figure occurs; and discourage with equal strictness the habit of breaking the chords where no arpeggio is explicitly marked. The slightestlatitudeallowed in this matter, at the beginning of instruction, will work irrepa-
1764
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The difference
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measure 10 thus:
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A more
practir.il distribution of the fitrurcs between
the hands, in measures
14-17 and
appeared necessary both for rhythmic.il and purely mechanical reasons. Amonj^ the latter is the rule for ,i\oidin^^ the use of thi- thumb when crossint;" the
5,
hands; for this draws the entire palm of the and thus impedes the ease of movement
h.ind into play, I7(i4
'-^
in
both hands.
(3.)
The fingering given
for
measures
10
and
11,
is
applicable to all similar gr.ided progressions; the more black kevs involved, the less will the thumb be used, and rti-r rrrsii.
10 (• - lu)
^M ^^^^^^^ AllegTo mod«M"alo.
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transposition of this Etudt- into G minor and F minor, a still better test of its practical utilityjbesides,
would give
practice in transposing cannot be too early
1764
recommended
|
^^p.i ^
p^y Pf7
P,-7
P^-7
„p
as an advantageous influence on the pupils ear and general musical development. Compare the Preface.
l
13 M()drr
sentpre le^nto
I7t.1
(1) The editor's experience in teachinfrh;is convinced him both of the comparative uselessness of this Etude in the orig:inal key of D major, and of its utility as transposed into DU
In the orio-inal key, a jfood piano-fing-erinf^-for small hands, uninterrupted !e
in
between the very (Z)
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 eighthnote. Sufficient attention is usually not paid to such "pre-
liminary practice"
to
polyphonic playing. transposition of this Etude into C major is also recommended. The unavoidable changes in the fingering maybe left to the teacher's insight. (3)
A
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14
Moderate con espressione.
I7b4
(J = i3a.)
15
(20)
This Etude
(1.)
study
in
to be
considered,
velocit}- for the left
the
hand
.
first-
The
of
all,
as
a
teacher should take
same
time, to stimulate a feeling for the leadof the bass amid the endeavors after a smooth and even
care, at ing:
is
touch. This feeling: should be expressed tion (though not too pointed) of tones
by an
accentuamarking successive modulations. Of course, such accents must not be unnecessarily multiplied; in measures 1 and 2, for instance, a In repeated accent on this lowest note is not allowable. measure 5, on the other hand, besides the first and third
beats, the
G and
the
At;
(on the second and fourth half-
beats respectively) are to be slightly marked, and in measures 6 and 7 each beat; whereas, in meas. 23 and 31, the second beat, on account of the ad-
unchanging harmony,
1764
mits of no accent. (2.)
less
Separate practice by the right hand will beneficial for an intelligent and elegant
prove
no
execution.
The apparently complicated fingering must be strictly obit was derived from a consideration of the various modes of touch, and of the correct "declamation" of the
served;
melodic phrase. (s.jThe turn in meas. 2 9 ther: (hl'F J'JSjJ.Jf
or:
may
be played in two ways;
i_^^U^E
;
ei-
the editor, however, pre-
because it more strictly maintains the rhythmical integrity of the melodic succession (syncopation of the second beat); neither can the dissonance of aI> against f bass G (second half of second beat) be considered offen&i\e fers the latter,
,
AlleHTO
brilliinte. u^irii.) =1
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Touching the execution of the arpeggio'd chords and last measures, compare the Note to N9 1.
in the first (2.)
The sfnrrati alternating between
the hands,
must
be executed with the greatest precision (meas. l.S-16.) (3.) The Episode (meas. 21-25) deserves special al-
I*b4
tention, both on account of the change of fingering
in
the
right-hand figure, and the leaps of the forefinger of the left C4.)
hand
in
turning over.
Despite strong family resemblance to Etude
number
is
not rendered superfluous by the latter.
I,
this
18
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To
full profit from the exercises for the indeof the fourth and fifth fing'erSjWe recommend
derive
pendence that llie number least
(2.)
of
movements
in
each measure should
Hands
measures
1,
of small stretching' capacity will 4, 12 and
28
While pursuing the technical aims of this Etude, do not neglect the study of its classic form and its melodic and (3.)
modulatory content.
be doubled, thus:
of special difficulty.
facilitations are left to the teacher's
1764
at
al cases.
judgment
find
only Admissible in
individu-
minor and B (4.) Transpositions of this Etude into Ct! minor will prove very beneficial, both technically and as exercises
in the
quirements
in
practical utilization of elementary
harmony.
ac-
20 Allej;;ro iion
10, (51.)
^m
ITbt
troppo. Jr7;>)
A
certain continuity being both practical and necessary every special study, the editor has placed the present and the next-following trill-exercise directly after the foregoing 1.
in
exercise for the fourth and
fingers. It will be feature, of technical development fifth
seen
at
once, that a new appears the weaker fingers are combined in the present Etude: with the stronger in a uniformly light and agile touch. Moreover, the fingers must be trained to contract swiftly after sudden extension; while the hand is to be so habituated to quiet plasticity of motion, that the finger-movements apparently leave
it
quite at rest.
The editor
lays particular stress on an exact fingerfor the left hand. His experience with the power of the ing law of inertia has taught him, that a fingering like the 2.
1761
usual convenient one: the following audible (or rather inaudible) result:
By such an amateurish execution, in polyphonic pieces, arc caused the most absurd misconceptions with regard to the aS; for example, leading of the parts. Passages in thirds those in the Presto of the Beethoven (.ft minor sonata op.27, N9 Z, meas.47, 48,53 and 54, which have to be playedjPw correct //w, besides require similar fingerings for their
—
execution: more especially, because the deeper key-fall of our modern pianos renders it far mor<5 difficult to contend
against the aforesaid law of inertia, than was probably the case when the Vienna pianoforte-action was generally em-
ployed.
22 Andante.
'•':: \vi.)
u. i6s.)
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23
4
(1.)
5
B
4
Instead of four trill-notes to each eig'hth-note, as
the original, the editor (2.)
4
The beginning
justified a proper
by
deemed
of the
trill
it
in
better to require six.
on the higher auxiliary,
5
4
Exceptions are found
in
measures 25,
27,
35 and
37,
hand, where a beginning on the auxiliary would obscure the harmony in its most essential ele -
in the left is
the importance of the trills in this number; by
regard for the smoothness of the after-beat; and by the suspension-like charm gained thereby; while no harmonic indistinctness is anywhere induced.
r«4
("3.")
5
ment— (4.)
In
the bass.
measures 13-15 a
critical
hand part appeared indispensable, hensible meagreness
in the
revision of the leftit
original.
being of incompre
-
24 Lento.
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cresc.
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8
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a
quanto possibile
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45
45
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d-*A»d*.
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^
(15)
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26
ten.
f
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(25)
1764
27
(Jo/ct
^ ^nk.
i
1
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=^
i
^
As a contrast to the preceding- Etude, the present one seemed to be appropriate in this place. All so-called "strenglh" in piano- playing-, depending on finger -agility obtained by practice, the independence of the fourth and fifth fingers, gained by means of the foregoing Etudes, will now be available in the shape of cleanness of attack, 1764
in
playing the highest
full,
the
editor
hopes
part. to
By
remedy
writing out that
the
pitiable
trills
in
indecision
which frequently leads — in the final movements of the Beethoven sonatas op. 53, 109, ill, and also in the first movement of op. 106, for example — to the most sadly perverted practical interpretations.
ScHiRMER's Library
i
k
of Musical Classics PIANO METHODS, STUDIES, AND EXERCISES S
I
K
S
L. 651
Op. 24.
Exercises and Studies tave-Playing.
L. 1035
Op. 25.
8
DUVERNOY,
J.
Op. 120.
in
Staccato Oc-
L. 44
School
HERZ,
Mechanism.
of
Studies "School of 15
preparatory to Czerny's Velocity." (Klauser). Complete. The same: Bk. I. Ecole Primaire. 25 Elementary Studies.
1292 .Op. 120. L. 50 Op. 176.
L. 798
L. 1416
L. 317 L. 543
The
Op. 82.
First Steps of the
Bk. L. 535
536
L.
L. 807
539 323
L. L.
324 L. 339 L. 206
L.
I,.
J
.326
I A
Op. Op. Op. Op. Op. Op. Op. Op. Op.
117.
X A A T A A X
100.
107.
130.
131.
L.
1071
1072 1073 1081
L.
L. 179
16.
A
A A A A A A
L. 1117
L. 176
177
L. 1120
L. 178
60 Exercises.
The Art
45.
25 Melodious Studies. Complete. The same: Bk. I. 30 Progressive Studies. Complete. The same: Bk. I. 25 Studies for Rhythm and Expression.
46. 47.
L. 130
L. 748 L. 766
Op. 47. Op. 81. Op. 119, Op. 125.
L. 24
The same: Bk.
48.
Op.
of Octave-Playing. Bk. I: Preliminary School. The same: Bk. II: 7 Octave Studies.
14.
200 Short Two-Part Canons. For the Beginner.
A Op.
17.
Op. 20. Op. ?6.
LEMOINE,
Preludes. Preludes. (Oestcrle). 24 Studies for Rhythm and
A.
Piano Method for Children,
sp.
e.
F.
The Alphabet. 25 Very Easy
Studies.
(Scharfenberg). L'Agilite. 25 Progressive Studies for Mechanism and Light Touch. 15 Preparatory Studies to Czerny's "School of Velocity".
H.
Op. 37.
Etudes Enfantines.
(Scharfenberg).
LISZT, F.
Expression. (Scharfenberg). 50 Selected Studies from Op. 45, 46, 47.
L. 8.35
6
Grand Etudes after N. Paganini. (Galileo).
L. 788
12
Etudes d'execution transcendante. (Gallico).
NEW YORK
^
y-'^y^y^y^y^y^'>^^^'^^'>^^ MC
The School
K. M.
I.
.32
•
10 Trill Studies.
T.
Op.
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I.
School of Etudes. Bk. I: Lower Elementary Grade. The same: Bk. II. Elementary Grade. The same: Bk. III. Lower Medium Grade.
L. 476
L. 63
24
CHINMfH
sp. e. Bk. I. Practical Method. (Oesterle). Bk. The same: Bk. II.
C.
Op. 48.
L. 67
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2.
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DiaiON COPYRIOHT.
242.
16 Elementary Studies. Studies. Short School of Velocity without
LE CARPENTIER,
Complete. L. 1123
553
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I.
The same: Bk.
46.
936
KUNZ,
of Phrasing. 26 Melodious
16.
45.
The Very Easiest
L. 1133
Studies. Bk.
Op. Op. Op. Op. Op. Op.
163. 190.
Op. 249. Op. 300. Op. 300.
KULLAK,
S.
Op.
151. 157.
L. 481
Complete. The same: Bk. I. The same: Bk. II. The .same: Bk. III. The same: sp. Complete.
HELLER,
Op. Op. Op. Op. Op.
KRAUSE,
C. L. in
15 Selected Studies. (Deis).
First Studies. (Klauser). 20 Studies in Continuous Scale-andChord Passages. 12 Easiest Studies. 12 Easy Studies. (Klauser).
L. 482 L. 483
Pianist
III.
L.
Op. 50. Op. 60.
KUHNER,
The Virtuoso
L.
I,.
L. 9.35
J.
925
I.
II.
Octaves. L. 1082
Mechanical Studies.
I..
I,.
L. 321
Etudes-Poesies. (Ruthardt).
Op. Op. 59.
HANON,
I..
L. 480
E.
53.
L. 299
I..
L. 196
School of Velocity. 24 Short Studies for Beginners.
141.
H.\BERBIER,
L. 180
A
85.
318
L. 425
in Velocity. 24 Studies on Scales and .\rpeggios. 24 Octave Studies. Buds and Blossoms. 12 Melodious Studies. The First Lessons. 35 Easy Studies without Octaves. 24 Melodious and Progressive Studies.
83.
HANDROCK,
L.
25 Etudes. Bk.
The same: Bk. The same: Bk.
J. C.
Op. 20.
Pianist.
The same: Bk. II. The Easiest Studies
82.
L. 191
Young
I.
sp. e.
A.
Op. 32. Op. 32. Op. 32.
KOHLER,
Melodious Studies of Medium Difficulty.
L. 534
The same:
KESSLER,
Easy Melodious Studies.
24 24
Scales and Exercises. (Vogrich).
L. 1083
763 L. 764 L. 765
C.
Op. 50. Op. 51.
L. 801
L. 170
L.
Rhythmical Problems.
Gl RLITT,
12 ("haracteristic Concert-Studies.
H.
JENSEN,
H.
L. 1279
A. 2.
Op.
(Jonas).
Octave Studies.
B. The
L.
GERMER,
TWO
HENSELT,
C. H.
DORING,
L. 316
ER
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RME
Library
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of Musical Classics PIANO METHODS, STUDIES, AND EXERCISES SERIES ONE
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BERENS, H. L. 1070
Op. 61.
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Op. 70.
L. 508
L. 526
Op. 79. Op. 88.
L.1031
Op. 89.
School of Velocity. 40 Studies. Complete. The Same. L. 259, Bk. I; L. 260, Bk. II; L. 262. Bk. III. 50 Pieces without Octaves. For Beginners.
—
20 Children Studies without Octaves. The School of Scales, Chords, and Embellishments. 28 Studies. Training of the Left Hand. 40 Exercises and 25 Studies.
BERTINI, H. L. 137
Op. 29.
L. 138
Op. 32.
L. 136 L. 758 L. 795
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24 Studies. Preparatory to the Cramer Studies (Vogrich-Buonamici). 24 Studies. A sequel to Op. 29. (Vogrich-
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L. 691 L. 1588
25 Easy Studies. (Vogrich-Buonamici). 24 Melodious Pieces. 50 Selected Studies from Op. 100, 29, and
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BIEIIL, A. L. 530 L. 497
Op. 30. Op. 44.
The Elements of Piano-Playing. 25 Easy and Progressive Studies. With special reference to the left hand.
Bk.
BRAHMS,
L.498, Bk.
II.
51 Exercises.
L. 1600
BRAUER, L. 494
I;
J.
F.
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15.
BURGMULLER,
12 Studies for Development of Velocity.
F.
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L. 752
Op. 109.
L. 500
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Op. 100.
terle.
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CHOPIN,
A
A A A A A A
Etudes (Mikuli). Etudes (Friedheim.)
33
CLEMENTI, M. Gradus
L.167
Parnassum. I.;
100
Exercises.
L. 168, Bk. II.
L.780
Gradus ad Parnassum. 29 Selected Stud-
L.1112 L.376
The Same.
ies.
CONCONE, L. 139
(Tausig). sp. f. e.
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G.
L.141
A
L. 140
Op. 30.
A
L.1374 Op. L. 226 Op.
A
ad
(Vogrich). Bk.
Op. 24. Op. 25.
A
(Oesterle),
F.
L. 1551
L
18 Characteristic Studies
31. 37.
25 Melodic Studies. (Oesterle). 15 Studies in Style and Expression. (Oesterle). 20 Studies on the Singing Touch. (Oesterle). 15 Studies in Style. (Deis). 24 Brilliant Preludes in all the
Major
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44.
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