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COMPOSERCarl Czerny
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PERFORMERKolja Lessing
Czerny: Systematische Anleitung zum Fantasieren / Kolja Lessing
- CPO
- March 18, 2022
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RELEASE DATEMarch 18, 2022
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UPC761203538423
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CATALOG NUMBER555384-2
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LABELCPO
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NUMBER OF DISCS2
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GENRE
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No. 21. Maestoso
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 22. Allegretto, vivo ed animato
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 46. Fantasie als Potpourri
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 1. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 2. Allegro vivo
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 3. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 4. Presto brillante
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 5. Andante
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 6. Capriccioso. Allegro vivo
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 7. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 8. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 9. Presto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 10. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 11. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 37. Cadenza: Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38. Thema: Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38A. Allegro con brio
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38B. Adagio serioso
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38C. Allegretto grazioso
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38D. Scherzo: Presto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38E. Rondo: Vivace
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38F. Polacca: Moderato
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38G. Thema zu Variationen: Allegretto con moto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38H. Fuge: Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 38J. Walzer: Vivace
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39A. Allegro brillante. Molto Vivace
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39B. Adagio. Mesto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39C. Andantino oder Allegretto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39D. Scherzo: Presto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39E. Rondo: Vivace
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39F. Thema zu Variationen: Allegretto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 39H. Marcia: Maestoso
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 40A. Allegro vivo
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 40B. Andante
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 44. Fantasia
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 12. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 13. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 14. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 15. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 16. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 17. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 18. Con moto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 19. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 20. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 42. Fantasie über ein Thema I
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 23. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 24. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 25. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 26. —
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 27. Andante
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 28. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 29. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 30. Allegro
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 31. Andante espressivo
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 32. Allegro brillante
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 33. —
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 34. Andante
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 35. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 36. Allegro molto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 43. Fantasie über ein Thema II
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 48. Lento
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 49. Andante con moto
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 50. Fughetta: Allegro scherzando
Composer: Carl Czerny
Performer: Kolja Lessing
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No. 51. Capriccio: Allegro vivace
Composer: Carl Czerny
Performer: Kolja Lessing
Featuring ⌄
Product Details ⌄
Works ⌄
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.
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