A delightful disc. Tal and Groethuysen play with passion and complete unanimity, and their sure-fingered techniques suggest the "velocity exercises" are well behind them.

Of all the composers whose names are far better known than their music, Czerny must be the most famous. Czerny? Oh yes, he was the chap who wrote those 'velocity exercises', the medicine pianists must take if they are to get better. True, but that wasn't all, his opus numbers leave little change out of 850! So why the neglect? Maybe there are two reasons. First, as a pupil of Beethoven, a teacher of Liszt and a contemporary of Schubert, he was born at the wrong time, surrounded by compositional giants. Second, it was his large output of didactic works and his eminence as a teacher that shaped his image, and his emphasis on technical brilliance was not always helpful to the balance of his music. I can see that, but it's hard to believe he wrote virtually nothing that is worth hearing! No, it's not that, it's probably that his academic image has been so strong that his music has simply been overlooked—if you try this record you'll see what I mean.

Despite his success Czerny was a tortured depressive and it reflects in his music; abrupt and extreme changes of mood, with correspondingly sudden changes of pace, volume and touch, and high-tension cascades of notes lie in wait for the tandem-pianists in the works on this recording. Echoes of Beethoven and Schubert rub shoulders with pre-echoes of Liszt. Czemy was not a great composer but he was a fluent one and, though you may be excused for thinking that he might have been wise to prune some of his lengthy utterances and to abate the firework displays, he often touches the heart-strings.

Yaara Tal and Andreas Groethuysen are new names to me (and to the catalogue) and the insert booklet offers only two photographs as enlightenment; what does seem clear is that this first recording is unlikely to be their last. They play with passion and complete unanimity, and their sure-fingered techniques suggest the 'velocity exercises' as being among those things that are well behind them. The piano itself is not of the kind Czerny would have used, but it has an appropriately clear sound—crystalline cantabile and fortes that are strong but not thunderous. The recording copes well with the wide dynamic range of the music. A delightful disc, to be sure.

-- John Duarte, Gramophone

Classical Music

Known as a piano teacher and possibly also as a pupil of Beethoven, Carl Czerny (1791-1857) enjoys practically no fame as a composer today. The composing maniac (round about 800 published works) acquired great reputation (and wealth) from piano teaching and educational writing for the piano and compositions the market expected from him. His string quartets have only been passed down as manuscripts from Czerny’s estate. Czerny composed in the tradition of Haydn and Beethoven. Echoes of Mendelssohn can be discerned as well as a romantic style full of drama and profundity of expression.

Quite simply exemplary and splendidly recorded as well.

The in this series was what I called ‘a valuable corrective to the partial, more generally held view of Czerny as a composer of an exhaustive number of pedagogic studies.’ This view is simply reinforced by volume 2 which is, similarly, a two disc set and which offers the same tangible musical rewards as the earlier volume.
 
There is nothing in the second volume quite as extensive as the massive Sixth Sonata of 1827. Nevertheless we do get four powerfully proportioned sonatas from his maturity played, as before, with powerful eloquence by Martin Jones, one of the most exploratory and energising pianists before the public. The interesting thing about Czerny’s sonatas is that the primary influence is not that of Beethoven. Rather it often sounds to have been Schubert who exerted the greater pull. The opening movement of the Eleventh Sonata, for example, sounds like a Schubert finale, though Brahms’s name is evoked by sleeve note writer Calum MacDonald. The sonata’s slow movement is a romantic soliloquy, its finale a songful, almost Schumannesque one played with warmth and clarity. This sonata dates from 1843. Nearly a quarter of a century earlier his first effort shows similar virtues. It’s a sonata that was admired by Liszt, who dedicated his Transcendental Etudes to Czerny, and is a powerful, exciting and generous spirited five-movement work. In this nourishing piece the central Adagio is hard to overlook, so richly cantabile is it, and so finely played too. Czerny is careful to balance the two faster inner movements; his Prestissimo agitato is galvanically brisk, whereas the Rondo is altogether more relaxed.
 
The Second Sonata is not unlike the First in that it too has five movements, one fewer than the Sixth where, one feels, Czerny did at least emulate Beethoven’s multi-movement example in his late string quartets. It is however much more concise than the earlier work. It has a most touching slow movement and an Allegro agitato that reminds one of the similar movement in the First. Another link comes from Czerny’s schema which is to end both these sonatas with a Fugue. In the First sonata the fugue is linked to earlier material, but not in the Second where the fugue stands, in effect, as a separate entity. The effect is grand, but it does lessen the sense of cumulative tension that the earlier work generated. The Sonatine is more compact still, but belies its name by virtue of its elevated and highly personal powers of reflection. And there are two small pieces. The Chanson sans paroles is spiced with delicious filigree, whilst the Character Etude Op.755 is a lissom and decidedly lovely effusion.
 
There is one remaining volume in this series, and one awaits it with anticipation. Jones’s playing is, quite simply, exemplary and he has been splendidly recorded as well.
 
-- Jonathan Woolf, MusicWeb International

Carl Czerny penned an astonishing amount of music, including the numerous potpourris, fantasies, teaching pieces and studies for which he became known. This recording features the delightfully entertaining Concertino in C major, Op. 210/213, as well as the highly enjoyable Rondino, a work based on an enchanting theme taken from Daniel Auber’s opera comique Le Macon. A pupil and lifelong friend of Beethoven, Czerny was just 21 when he wrote the pastoral Second Grand Concerto in E flat major. Begun only twelve days after he had given the Viennese premiere of his mentor’s Emperor Concerto, the same choice of key seems a fitting homage to the grand master he so revered.

In his Opus 300 Carl Czerny compiled a unique keyboard compendium of all the stylistic facets of European music from the Baroque until far into the Romantic era – an audio history of music en miniature featuring preludes as our guides and an overwhelming variety of characters, forms, and pianistic invention. The 120 finely chiseled preludes range from the aphoristic extreme of ten to twenty seconds in length to the just as aphoristically packed narrative and rhapsodic forms of a maximum of three to four minutes. Their numerical midpoint is formed by sixteen very short interludes that are brilliant examples of modulations, each proceeding from C major to all the other major keys. Like most of the preludes from No. 60 to No. 71, they represent variants of this art form originally distinguished by improvisation: as interludes they build audio bridges from one (imaginary) work to the next and link what would appear to be beyond linking. The work of course is interpreted in its entirety on this release – by none other than Kolja Lessing, one of the most versatile musicians of our times and a violinist and pianist who combines interpretive and musicological work in his many significant contributions to music culture.

Carl Czerny: A Rediscovered Genius (Live)

Kolja Lessing, one of the most versatile musicians of our time, has energized music culture with significant impulses as a violinist and pianist who combines interpretive and scholarly work. For cpo he has now recorded two violin sonatas by Carl Czerny. After producing several violin and piano sonatas Czerny wrote his grand Sonata Concertante in four movements in 1848, the year of the failed revolution. The contrast to his first Violin Sonata of 1807, a work of his youth, could hardly be greater: reconsideration of Mozartian rhetoric and compositional technique mark this work pulsing with astonishing kinetic energy and with a concertante character for the most part embodied by the piano, while the violin part instead is assigned more the role of brilliant commentary or pointed interaction. Kolja Lessing himself wrote the booklet text and expresses the greatest thanks to Anton Kuerti – not only for his tireless research, investigation, and revival of Czerny’s colossal oeuvre but also just as much for his meticulous transcription of what in part are Czerny’s difficult-to-decipher manuscripts into modern notation. “Accordingly, Anton Kuerti, as Czerny’s real rediscoverer, shall have the last word with a deeply felt statement about these treasures that have now been unearthed: It is a rare privilege to find music that has been so inexcusably neglected and now brought back to life.”

Carl Czerny found a continuing source of inspiration in the music of his teacher Beethoven, even after he had established himself with a series of influential pedagogic works, piano exercises and studies. His works for piano trio show a flair for vivacious themes and unusual rhythms, such as the Spanish bolero in the second of the ‘Deux Trios brillants, Op. 211’ as well as opportunities for brilliant display, notably for the pianist. The ‘Trois Sonatines, Op. 104’ are equally lively, showing a transitional style that bridges the period from Mozart to Liszt. Dr. Sun-Young Gemma Shin is an active performer on both Baroque and modern violin as a soloist, chamber musician and orchestra leader. She is presently associate concertmaster of the Champaign-Urbana Symphony Orchestra. Benjamin Hayek completed his bachelor and MM degrees in cello performance at the University of Illinois at Urbana Champaign. Hayek is active as a modern cellist in addition to his frequent appearances as a Baroque cellist. Dr. Samuel Gingher is active as a solo and collaborative pianist, and has performed in piano and chamber festivals all over the world. He is currently a faculty member at Millikin University in Illinois.

CZERNY: Piano Sonatas Nos. 1 and 3 / Funeral March, Op. 146

This is a great live recital performed by Antonio Pompa-Baldi. Pompa Baldi has more piano recordings for Centaur than any other pianist. This is an exceptional recital.

Carl Czerny’s instructional exercises may be his lasting legacy but there remain numerous largely forgotten pieces that reveal important elements of his compositional range. The four Romantic Fantasies named after Sir Walter Scott’s famous Waverley novels are piano duets of epic breadth. In them Czerny ingeniously develops popular Scottish melodies, including the use of the ‘Scotch snap’, to generate a vivid programmatic quality that explores numerous genres. Scherzos, fugal passages, chorales and marches are all featured, and raise the music – full of beauty, virtuosity and unpredictability – to orchestral proportions.

REVIEW:

Though the majority of Czerny's more than 800 works were for solo piano, there were also works intended for use in public concerts, such as the four Romantic Fantasies for piano duet composed in 1832. Each is of sizeable proportions and based on a novel by Sir Walter Scott, Czerny having been an avid reader. They used the stories that were recounted in Waverley, Guy Mannering, Ivanhoe and Rob Roy, and in his thematic material he appropriately used Scottish and English traditional melodies. Technically they are highly demanding, particularly in the many mercurial passages for the right hand of the ‘Primo’ pianist, and proved a very testing time for Pei-I Wang in Waverley. The second Fantasy, in a mood of quiet suspense, leads to the military atmosphere that opens Ivanhoe, and finally he cast Rob Roy as a weighty finale. Mid-way through the disc the North American-based duo exchange places, Samuel Gingher becoming the ‘Primo’, the young duo here offering World Premiere Recordings made in 2019. A discovery that has given me considerable pleasure.

– David's Review Corner (David Denton)

Carl Czerny, a student of Beethoven- whose music remained an inspiration- occupied an important place in the musical landscape of his time as both performer and pedagogue. His own students, such as Liszt, transmitted his teaching principles which were available in a large number of groundbreaking exercises and etudes. Carl Czerny wrote his 30 Etudes de mecanisme, Op 849 (’30 Studies of Technique’) at a time of exceptionally high demand for teaching material. The Studies make use of a limited range of keys but are intended as an introduction for students to the ‘School of Velocity.’ Perfectly placed between his simpler and more virtuosic Studies, Czerny’s Etudes have remained in demand to the present day. The works are performed here by Nicholas Horvath, who is known for his boundary-less musical explorations and his enthusiastic promotion of contemporary music.

The Viennese-born Carl Czerny (1791-1857) is best remembered for his countless pedagogical studies, hundreds and hundreds of them. But his astonishing fecundity - his opus numbers go up to 861, and there is much more music than that - has obscured the fact that he was an important composer in his own right, his works forming a link between Beethoven (his teacher) and Liszt (his student), between the Classical and Romantic eras. The four pieces recorded here - two for two pianos and two for piano four-hands - were intended to impress the salons of Biedermeier Vienna. The titles of three of them contain the word 'brillant': Czerny's intention was to dazzle and entertain, and that's just what this sparkling music does.

For the third time Kolja Lessing, one of the most versatile musicians of our times, dedicates himself to the multifaceted composer Carl Czerny and specifically to his Systematische Anleitung zum Fantasieren auf dem Pianoforte op. 200 (Systematic Introduction to Improvisation on the Pianoforte). “If a finely written musical work can be compared to a noble architectural edifice in which symmetry must predominate, then a successful fantasy is a beautiful English garden, seemingly without rules but brimming with surprising variety and intelligibly, meaningfully, and planfully executed.” It was with this poetic comparison that Czerny, writing in the introduction to his Anleitung zum Fantasieren, characterized the nature of improvisation, contrasting it with a composition elaborated in writing. It is scarcely surprising that Czerny, quite early marked by many years of the closest contact with his mentor Beethoven and his unique art of improvisation, presented this compendium in 1829 in his effort to grasp music encyclopedically. As an instructive work, it systematizes all the different kinds of improvisation then in use and illustrates them with numerous models, often ones honed with the finest artistry. In his compendium Czerny addressed the knowledgeable, technically uncommonly well-versed player. In his accompanying texts he refers to models that at the time were almost completely unknown such as Bach’s Well-Tempered Clavier and Art of Fugue, to exemplary works by his contemporaries Beethoven, Clementi, Hummel, and Moscheles, and even to his own publications in respect of each improvisational genre. It is thus that Czerny’s op. 200 offers fascinating insights into the musical practice of the early nineteenth century at the crossroads between Classicism and Romanticism – while he himself already belongs to the Romantic period by virtue of his encyclopedic thought bringing together all the epochs of music history.

Composers are often tasked with creating from a void, an emptiness. The blank page is an easel. The parts of a structure of a piece of music – melody, accompaniment, line, harmony, tension, and release – must take shape to reach the listener’s ear. Sometimes, instead of starting with an empty sheet of staff paper, a composer creates something which is pollinated by another source. Perhaps it is a folk song, a poem, a melody, or an even larger work, such as a full-length opera. New works are then realized. In the case of this two-cd set, an East South African folk tune receives new life as a romantic piano ballade. A sonnet of Petrarch resurfaces centuries later as a dramatic declaration of love, through a solo piano work. The repertoire on these discs traces Kristin Ditlow’s own growth as a pianist and musician. Each work marks a chapter of her development and artistry to the present. The song transcriptions are pieces that have been played countless times with vocal partners: the operatic works are works that she has coached or conducted. Her passionate pursuit of travel is also a thread which weaves throughout the discs: the Samuel Coleridge-Taylor spiritual arrangements are works that she became acquainted with as a high school choral accompanist: meeting her husband while on tour in China in 2012: the Mongolian Shepherd Song is her arrangement of a traditional folksong from the Chinese Mongolian community, a work introduced to her by her husband in China originally for erhu and pipa (traditional Chinese instruments) accompaniment but transcribed for violin and piano. Kristin Ditlow has spent five summers performing, teaching, and coaching in Hungary and the Bartók selections all harken back to those times in the Hungarian countryside. Pianist, coach and conductor Dr. Kristin Ditlow dedicates her musical career to collaboration and connection. She has been seen in concert throughout North America, Mainland China, and Western Europe as a soloist, collaborative pianist, and conductor. The set of music pieces in this album is representative of her “Passages” in her career.

Czerny: Complete Organ Music

Few composers are as well known and at the same time as infamous as Carl Czerny. This is mainly due to a few collections of etudes, which were used almost excessively by some piano teachers, at least in the past, to train finger technique. The actual exercises and etudes make up only a tenth of his oeuvre, which comprises over 2000 works, of which 861 are available in print. With these numbers, it must still be taken into account that each opus can consist of up to 50 individual pieces. The largest part of his oeuvre, almost half, must be counted as arrangements.

The "Quatuors Concertants" op. 230 and op. 816 also belong to this genre, although the main titles do not indicate this and the instrumentation for four pianos with eight hands places them above the usual arrangements. The two titles "1er Quatuor Concertant op. 230" and "2me Quatuor Concertant op. 816" indicate that these pieces were intended for the concert hall. The "Quatuor Concertant op. 230" was performed on 4 April 1830 for the benefit of the victims of a Danube flood in the k.k. great Redouten-Saal in Vienna, together with the Semiramis Overture by G. Rossini, which Czerny had arranged for eight pianos with 32 hands (see CD "Up to 8 pianos"). The attractiveness of this concert was further enhanced by the fact that only aristocratic pianists, and especially female pianists, performed.

Much of Carl Czerny’s concert music for piano was considered ‘wild and almost unplayable’ in his day, but these world premiere recordings reveal inspired melodic writing, great skill in orchestration and colourful virtuoso challenges in a programme that includes his final Concertino, Op. 650. This is the final release in the Naxos edition of works for piano and orchestra by Czerny. Previous releases can be heard on 8.573998, 8.573688, 8.573417 and 8.573254.

Classical Music