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 -^ -^ ^ ^ ^ ^ ^ ^ ^ ^*- ^ ^ ^ ^ ^ ^ ^ ^^^ ^ ^ ^ ^ ^ ^ .Sta

Cramer. 50 STUDIES--Bk. 1 Piano

f^ SCHIRMER'S LIBRARY u
OF MUSICAL CLASSICS

Vol. 828

J.B.CRAMER
Fifty Studies
For the Piano

Book 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

DR. HANS VON BiJLOW

Translations by

ALBERT R. PARSONS and B. BOEKELMAN

Newly Revised by
DR. THEODORE BAKER

IN FOUR BOOKS
(Also In One Book Complete)
Book I
(Nos. — Library
1-12) Vol. 828

Book II
(Nos. 13-25)
- Library Vol. 829

Book III (Nos. 26-38) — Library Vol. 830

Book IV (Nos. 39-50) — Library VoL 831

(Complete) Library Vol. 827

G. SCHIRMER, INC.
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 and with a mere repetition of

detail, triad in an artistically correct manner, not to mention
encomiums, what universally recognized and has often
is other surprises for the examiner. Now, the practical
been said concerning the inestimable value and enduring ill-success so frequently attendant upon the study ol
importance of J. B. Cramer's pianoforte-studies, as a Cramer's Etudes is owing to c.iuses which it is the aim
cultural means for the pianist's execution and delivery, of this edition to obviate. First among these is the non-
(a means not only unexcelled, but also with the excep- — ohseri'ance of a svstematic suecession. Such an one was
tion of Muzio dementi's "Gradus ad Parnassum for not, at least consistently, carried out by the author.
which they serve as the most
suitable preparation one —
",

Moreover, in the English edition, the succession of the

as yet but approximately equalled by any other collection
of studies.) can not, of course, be the purpose of these
lines. If Fetis, the Romanic musical authority of the
present, designates them as " eminemment classiques",
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
"
study and the latter, in his history of pianoforte-play-
;
ing,* [Engl, translation, New York, 1893], numbers them
among the classics of pianoforte-literature
alike to contents 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
of the work here newly issued to the public in a specifi-
cally instructive edition. Perhaps it will not be super-
fluous to say a few words in justification of the new
edition although only through careful
(or elaboration),
inspection of the work
itself will the purpose of the
editor become perfectly clear. The need of such an
instructive edition has been often felt already. Louis
Berger (born 1777, and dementi's pupil from 1804-10)
deemed it necessary to edit the first twelve studies with
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 open-
ing 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 unsat-
isfied, 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
well-considered and methodic emplovment must have for
itsresult the gain of a firm foundation for virtuoso-dis-
cipline in the good sense, nay, the gain of an alreadv
comparatively developed degree of mechanical and intel-
lectual 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 instruction consists, all told, in more
" lectual giant in tones, Bach, who is comparable to a Dante only.
tically "ploughing through the first book, and perhaps
the second also, which naturally is then, as a rule, more
quickly finished; or else the whole number, eighty-four,
numbers differs from that in the German. The first-
named edition, which lay before us in our work, and,
indeed, as represented by a revisional copy provided with
corrections 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
contains the sixteen studies supplement, illy issued in
Vienna (surreptitiously in Hamburg), which have been
in respect comparatively but little disseminated, and the chief pur-
pose of which, evidently, was only to make up the
ceremonial number of 100. Accordingly, their non-con-
sideration in the present edition w.is not prompted solely
by their character of a private domain. For our attempt
to 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 qualita-
tive resultlessness of the study of Cramer's Etudes is to
be found in their over-great quantity.The same consid-
eration in the case of dementis "Gradus ad Parnassum"
has recently induced the Court-pianist to the King of
Prussia, Mr. Carl 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
all intelligent pianoforte-teachers, is to be recommended.
With correct tact, Mr. Tausig has eliminated the intrin-
sically 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 Well-
tempered 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 prepar-
ing 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
* As there was
once, in Florence and at other Italian universities, a
Dante faculty (Boccaccio was tlie first occupant of this chair of instruc-
tion), 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 pedan- schools of music, a similar specialization of the study of the German intel-
To
—
play Bach beautifully and with finish is a task wliich the necessary
cerebral conditions abstracted — is only to be demanded from those
pian-
ists who have attained complete mastery over the material, and who also,

are really —
in turn —
hurriedly quitted on accomplishing ;
forexample, no longer brokenly stumble through Beethoven's last piano-
forte-son.itas.Whither attempts to assimilate the works of Bach from the
which, in nine cases out of ten, the but slight positive
standpoint of the pianoforte-chair specifically tend, is most alaimingly
result appears, that the player who has reached No. 84. shown by Czernv's celebrated edition of them, the transitory merit 0/
on being suddenly again confronted with No. i, shows which we would not question, but against an uncritical use of which an
himself incapable of striking the first arpeggioed C major 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
* A the introduction to the playing of Bach (preludes and inventions) may
copy of which, with iti.inuscript revisions .mil additinns, has been
intrusted by tiie author to the- present translator for the preparation of an not, according to individual data, begin even simultaneously with th*
English version. study of Cramer's Etudes.

tm 1

.0^-1 JEW YORK PtJBUta LIBIART FOR THBLPEafCBBam*

40 LINCOLN- CENJSJT' ^^ ABniT^^^ ""
lod NEW YORK. NT KmS^
be reproached for not having proceeded radically enough, the frequently misused title, "indispensable du pinniste".
and for having given too much space to repented repre- To refer here to other specialties of a subordinate nature,
sentations of tliat which is hofnogeneous. To this it might for purely mechanical ends, would extend this preface too
be replied, that practical experience demonstrates the ad- far.

vantage of such readings. Precisely in connection with Finally, a third circumstance might be mentioned in
the necessity of acquiring by perseverance any special justification of our instructive edition, and, indeed, the
kind of mechanical expertness, the charm of a certain one which seems to us weightiest of all. It relates to the
variety in homogeneity tends to refresh and stimulate, directions for the application of the fingers, which,
being
on the one hand, and on the other to promote and deter- doled out by the author with a sparingness only pro-
mine, and also, occasionally, as a counter-experiment, to portionate to their want of consistency, were in need
instruct. After several homogeneous exercises only, the alike of augmentation and alteration, in'order to
help the
player should always revert, in recapitulation, to the first performer to attain the purposed mechanical aim. in
of them. Respecting a few other studies, of which the order to prevent misinterpretation, we will elucidate
mechanical end is perhaps still more systematically devel- more this
apparently irreverent reproach
oped in —
dementi's Gradus coupled, to be sure, with against
particularly
B. Cramer.
His labors' fell on the boundary-
greater difficulties it
—
may be remarked, that in a regu-
J.
line between the earlier and later periods of
pianoforte-
larly graded succession of those collections of studies playing, of which the latter, keeping pace with the
which are to be employed for complete cultivation in increasing perfection of the instrument, and the enhanced
pianoforte-plaving. J. 6. Cramer is the forerunner of demands resulting from it upon the performer's powers
Clementi. connection, perhaps, it may not be
In this of execution, has, in course of time, arrived at a system
unwelcome to pianoforte-teachers to see indicated the of fingering in many respects diametrically opposed to
course of mechanical study which the undersigned has the former. As the chief mechanical difficulty in piano-
found approved in his practice as a teacher. The course forte-playing, we now lay stress upon the unevenness,
in question comprises all the studies, from those of the resulting from the local relations of black and white keys,
beginner to those of the virtuoso. of the field forming the scene of action for the performer's
After the first rudiments have been mastered, for which fingers. Our aim, therefore, is chiefly directed to render-
purpose the first part of the pianoforte-method of Lf.bert- ing the fingers independent of that unevenness, and, by
Stark is most to be recommended as. to the best of our means of protracted gymnastic exercise, to enable them to
knowledge, the most substantial help, the following are move about on the black keys in a manner as light, free,
in place: secure,and distinct as when on white keys, and without
I. a. The
studies of Ai.OYS Schmitt, Op. i6, together stumbling in any combination whatsoever of white and
"
with the Exercices Freparatoires ", always to be prac- — black. According to the perhaps somewhat venturesome
tised in all twelve keys —
which form the introduction opinion of the editor, that is the best fingering which
to the first book. It is worthy of mention that Fhlix permits the performer, without mechanical preparation,
Mendelssohn-Barthoi DY, who was an eminent master as and without previously taking pains to deliberate, to
pianist also, laid with this work the foundation of his transpose a given pianoforte-piece to any key he may
classical technique. choose; a modern virtuoso of the genuine calibre must
b. In contrast to the relative
dryness of Schmitt, a col- be able to perform Beethoven's Op. 57, for example, as
lateral use of Stephen Heller, Op. 43. conveniently in Fit minor as in F minor. In such a case,
II. a. J. B. Cramers studies. the construction of a suitable fingering, which must be
b. St. Heller: Op. 46 and 47. based exclusively upon a correct rendering of the musical
c. Czerny: Daily Exercises; likewise his collection
C. phrase
—
without respect either to the relations of black
of studies, entitled the "Method of Legato and Staccato" and white keys, or to those of longer and shorter fingers —
(Die Schule des Legato und Staccato), which, strangely demands, of course, the overthrow of all the rules of the
enough, has not hitherto received that notice which it old method. This old method appears, after all, to have
merits. set out with the chief purpose of circumventing all diffi-
"
III. a. Clementi; "Gradus ad Parnassum (selection cultiesendangering the preservation of^a quiet position of
and elaboration by C. Tausig). the hand, through varying relations of the white and
b. Moscheles: Op. 70, 24 studies; a work more black keys which come into play just as, among other
;

widely disseminated in North than in South Germany, things, it ignored the necessity of different applications of
which unconditionally deserves the predicate "classic ". the fingers in the case of different modes of^ touch (/. e.,
IV. a. Henselt: Selected studies from Op. 2 and s between letiato, staccato, etc.); and just as it rejected
"
b. Together with, and as preparatory to these, Haber- that right of the thumb to free migration ", which is in-
bier: "Etudes-Poesies"; a kind of continuation of St. dispensable in
polyphonic playing and foravoiding per-
Heller. plexities in transposition declaring, as a
;
matter of course,
c. Selected pieces by Moscheles: Ch.iracteristic stud- him to be the best pianoforte-composer whose inspiration
ies (Charakteristische Studien). Op. qs- was continually guided by the external image of the
V. Chopin: Op. 10 and 2s, with which may be asso- twelve half-steps of the the octave on the key-board, as
ciated the study of the single Preludes (of a special seven broad and fl.it keys, together with five narrow and
mechanical tendency) from his Op. 28. elevated ones; judged by which criterion, Clementi's
VI. Liszt: Six Etudes after Paganini; three Concert- pianoforte-fugues might indeed have claimed an uncondi-
Etudes; twelve grand Etudes, "d'execution transcen- tional superiority over those of a J. S. Bach.
dante." Now, J. B. Cramer (born 1771, in Mannheim; died
VII. a. Rubinstein: Selected Etudes and preludes. i8s8, near London) comprehended in a far greater degree
b. V. C. Ai.KAN Selections from his twelve grand
: than did his predecessor, representing a more important
Etudes; for the most part more difficult than any of artistic individuality, Muzio Clementi (born 17^2, at
the aforenamed. Rome; died 1852, in Engl.ind) —
whose instruction, more-
Simultaneously with entering upon stage 111., Theodor over, he enjoyed only in 1783-4. at Vienna, therefore as
Kullak's Method of Octaves (in three parts) should be a boy — the necessity of breaking with that method; and
attacked and prosecuted without haste, but also without in his studies are to be found frequent traces of reforma-

interruption. This extremely meritorious special work tory directions for the lingering —
especially, too, in respect
is, in our opinion, irreplaceable, and it most justly claims to the old limitation of the activity of the thumb, just mea-
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 him-
self 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 own — as sufficiently set
forth in his method
fingering
for the pianoforte — without any mod-
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 with practical use, will
become self-evident. Still, we 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
by the author. Similar revision seemed to us neces-
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 dis-
pensing with the luxury of double "slurring"; etc.
CoPVRIGHr, G. SCHIRMEK,
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-
propriate to their delivery simply as pieces of music. It
is possible that, as happened with Beethoven, and more
recently with Schumann (who is said to have metrono-
mized 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 Fah-
renheit to a Reaumur.
Concerning the life and labors of the composer, infor-
mation is to be found in Fetis: Universal Biography
(Biographic Universelle), first edition, 1866 [2nd ed..
1889]; Gassners Universal Encyclopedia of Music (Uni-
versal-Lexikon der Tonkunst), etc. The History of
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 con-
cerning the dates of the successive publication of Cramer's
studies, to establish which would be of more than mere
historic interest. The second book appeared with Breit-
kopfand Hartel in 1810
(when in bngland .?)
and
;
in 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.
1875.
 Fifty Selected Pianoforte -Studies
bv

J. B. Cramer.

(• = i:li.)
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(^1.) Each hand should first practise its part alone, in rable injury.
slow tempo and with a uniform degree of loudness.
Then, by way of a test, try to play in faster tempo and
an even ///^^ir''>-/'/ff»« instead of the previous /?;/'/ft If the Execute the the second!
slightest indistinctness should be detected, resume the first first arpegyio'd
method of practice. Both hands must not play together measure 10
chord
until the mechanical difficulties ,ire overcome. The study as follows: thus:
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 The difference in the execution of these two arpeggio'd
its part alone with strict observance of the dynamic chords depends, in part, on their different time -value,
marks of expression. These rules apply, of course, to and in part on the different manner in which the chord -
the study of all these Etudes. tones combine. The necessity for the sticcessiip arpeggio
(2.) The teacher must insist upon a xysti'tnntir arpeg- in measure 1, is evident from the lack of fullness which

giatioo, wherever this figure occurs; and discourage with would result from a mode of execution similar to that in
equal strictness the habit of breaking the chords where no measure 10; because, in the former case, the right-hand
arpeggio is explicitly marked. The slightestlatitudeallowed in this part would merely double the left-hand part at an inter-
matter, at the beginning of instruction, will work irrepa- val of 3 octaves.

1764
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1. To derive benefit from practisinsf this number, it is of while even and light, must ahvays bring out the natural
prime importance to firmly set and retain the outer fin- melodic expression of the figure: i.e.,a slight cresceiul"
gers on their keys. in ascending, and a slight diminuendo in descending.
Z. The movement of the middle fingers in both hands,

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'1.) A more practir.il distribution of the fitrurcs between in both hands.
the hands, in measures 14-17 and '-^
appeared necessary
5, (3.) The fingering given for measures 10 and 11, is

both for rhythmic.il and purely mechanical reasons. Amonj^ applicable to all similar gr.ided progressions; the more
the latter is the rule for ,i\oidin^^ the use of thi- thumb when black kevs involved, the less will the thumb be used, and
crossint;" the hands; for this draws the entire palm of the rti-r rrrsii.

h.ind into play, and thus impedes the ease of movement

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A transposition of this Etudt- into G minor and F minor, as an advantageous influence on the pupils ear and gen-
would give a still better test of its practical utilityjbesides, eral musical development. Compare the Preface.

practice in transposing cannot be too early recommended

1764
 13

M()drr<if().'# - KKo

sentpre le^nto

I7t.1
 (1) The editor's experience in teachinfrh;is convinced him down the thumb of the left hand in measures 9, 13 and 14,
both of the comparative uselessness of this Etude in the orig:- while the forefinger is turning over to take the last eighth-
inal key of D major, and of its utility as transposed into DU note. Sufficient attention is usually not paid to such "pre-
In the orio-inal key, a jfood piano-fing-erinf^-for small hands, liminary practice" to
polyphonic playing.
in uninterrupted !e<rato, could not be found for the transition (3) Atransposition of this Etude into C major is also rec-
between the very first two measures. ommended. The unavoidable changes in the fingering may-
(Z) Too great care cannot be bestowed on firmly holding be left to the teacher's insight.

17o»

rmmtmti T^v T mo A DV law^Ti mi I I.I <

14

Moderate con espressione. (J = i3a.)

I7b4
 15

(20)

(1.) This Etude is to be considered, first- of all, as a mits of no accent.

study in velocit}- for the left hand . The teacher should take (2.) Separate practice by the right hand will prove no
care, at the same
time, to stimulate a feeling for the lead- less beneficial for an intelligent and elegant execution.
ing: of the bass amid the endeavors after a smooth and even The apparently complicated fingering must be strictly ob-
touch. This feeling: should be expressed was derived from a consideration of the various
accentua- by an served;it

tion (though not too pointed) of tones

marking succes- modes of touch, and of the correct "declamation" of the
sive modulations. Of course, such accents must not be un- melodic phrase.
necessarily multiplied; in measures 1 and 2, for instance, a (s.jThe turn in meas. 2 9 may be played in two ways; ei-
repeated accent on this lowest note is not allowable. In
measure 5, on the other hand, besides the first and third ther: (hl'F J'JSjJ.Jf or:
i_^^U^E ;
the editor, however, pre-

beats, the G and the At; (on the second and fourth half- fers the latter,because it more strictly maintains the rhyth-
beats respectively) are to be slightly marked, and in mea- mical integrity of the melodic succession (syncopation of
sures 6 and 7 each beat; whereas, in meas. 23 and 31, the the second beat); neither can the dissonance of aI> against f
second beat, on account of the ad- bass G (second half of second beat) be considered offen&i\e
unchanging harmony, ,

1764
 AlleHTO brilliinte. u^irii.)

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(I.i Touching the execution of the arpeggio'd chords tention, both on account of the change of fingering in the

in the first and last measures, compare the Note to N9 1. right-hand figure, and the leaps of the forefinger of the
(2.) The sfnrrati alternating between the hands, must left hand in turning over.
be executed with the greatest precision (meas. l.S-16.) C4.) Despite strong family resemblance to Etude I, this

(3.) The Episode (meas. 21-25) deserves special al- number is not rendered superfluous by the latter.

I*b4
18

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(1.) To derive full profit from the exercises for the inde- al cases.

pendence of the fourth and fifth fing'erSjWe recommend (3.)While pursuing the technical aims of this Etude, do not
that llie number of movements in each measure should at neglect the study of its classic form and its melodic and

least be doubled, thus: modulatory content.

(4.) Transpositions of this Etude into Ct! minor and B
(2.) Hands of small stretching' capacity will find only minor will prove very beneficial, both technically and as
measures 1, 4, 12 and 28 of special difficulty. Admissible exercises in the practical utilization of elementary ac-
facilitations are left to the teacher's judgment in individu- quirements in harmony.
1764
20
Allej;;ro iion troppo. Jr7;>)

10,
(51.)

^m

ITbt
 1. Acertain continuity being both practical and necessary usual convenient one:
in every special study, the editor has placed the present and the following audible (or rather inaudible) result:
the next-following trill-exercise directly after the foregoing
exercise for the fourth and seen By such an amateurish execution, in polyphonic pieces, arc
fingers. It will be
fifth at
caused the most absurd misconceptions with regard to the
once, that a new feature, of technical development
appears
leading of the parts. Passages in thirds — aS; for example,
in the present Etude: the weaker fingers are combined
those in the Presto of the Beethoven (.ft minor sonata op.27,
with the stronger in a uniformly light and agile touch. More-
N9 Z, meas.47, 48,53 and 54, which have to be playedjPw -
over, the fingers must be trained to contract swiftly after correct
//w, besides require similar fingerings for their
sudden extension; while the hand is to be so habituated to
execution: more especially, because the deeper key-fall of
quiet plasticity of motion, that the finger-movements appar- our modern pianos renders it far mor<5 difficult to contend
ently leave it quite at rest.
against the aforesaid law of inertia, than was probably the
2. The editor
lays particular stress on an exact finger- case when the Vienna pianoforte-action was generally em-
ing for the left hand. His experience with the power of the
ployed.
law of inertia has taught him, that a fingering like the

1761
 22
Andante. '•':: \vi.)

u.
i6s.)

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tr^f^ iMi is
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> ^ »»» %»%i»'* ^^» »^ » »»»^^»»»»»» »» » % ten.

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1764
 23

4 5 B 4
4 5 5 4

(1.) Instead of four trill-notes to each eig'hth-note, as in ("3.")

Exceptions are found in measures 25, 27, 35 and 37,
the original, the editor deemed it better to require six. hand, where a beginning on the
in the left auxiliary
(2.) The beginning of the trill on the higher auxiliary, is would obscure the harmony in its most essential ele -
justified by the importance of the trills in this number; by ment— the bass.
a proper regard for the smoothness of the after-beat; and (4.) In measures 13-15 a critical revision of the left-
by the suspension-like charm gained thereby; while no hand part appeared indispensable, it
being of incompre -

harmonic indistinctness is anywhere induced. hensible meagreness in the original.

r«4
24
Lento.<J::'?6)

cniifnbile

i is
cresc.
f

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*
1

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8 « a

quanto possibile
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 45 45

o.
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s
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f
1764
 26

ten.

f 1
I
ten

(25)

1764
 27

(Jo/ct

^ 1 i
^nk. ^"'
i =^

^<?w. ?7 pofisibile

As a contrast to the preceding- Etude, the present in playing the highest part. By writing out the trills in

one seemed to be appropriate in this place. All so-called full, the editor hopes to remedy that pitiable indecision
"strenglh" in piano- playing-, depending on finger -agility which frequently leads — in the final movements of the
obtained by practice, the independence of the fourth and Beethoven sonatas op. 53, 109, ill, and also in the first
fifth fingers, gained by means of the foregoing Etudes, movement of op. 106, for example — to the most sadly
will now be available in the
shape of cleanness of attack, perverted practical interpretations.

1764
i ScHiRMER's Library k
of Musical Classics
PIANO METHODS, STUDIES, AND EXERCISES
S ER I K S TWO

DORING, C. H. HENSELT, A.
L. 651 Op. 24. Exercises and Studies in Staccato Oc- L. 44 Op. 2. 12 ("haracteristic Concert-Studies.
tave-Playing. (Jonas).
L. 1035 Op. 25. 8 Octave Studies.
HERZ, H.
DUVERNOY, J. B. L. 170 Scales and Exercises. (Vogrich).
L. 316 Op. 120. The School of Mechanism. 15 Studies L. 1083 The same: sp. e.
preparatory to Czerny's "School of
Velocity." (Klauser). Complete. JENSEN, A.
L. 1292 .Op. 120. The same: Bk. I. L. 763 Op. 32. 25 Etudes. Bk. I.

L. 50 Op. 176. Ecole Primaire. 25 Elementary Studies. L. 764 Op. 32. The same: Bk. II.
L. 765 Op. 32. The same: Bk. III.
GERMER, H.
L. 1279 Rhythmical Problems.
KESSLER, J. C.
L. 1416 Op. 20. 15 Selected Studies. (Deis).
Gl RLITT, C.
L. 798 Op. 50. 24 Easy Melodious Studies.
KOHLER, L.
L. 801 Op. 51. 24 Melodious Studies of Medium L. 317 Op. 50. First Studies. (Klauser).
Difficulty. L. 543 Op. 60. 20 Studies in Continuous Scale-and-
L. 534 The First Steps of the Young Pianist. Chord Passages.
Op. 82.
Bk. I.
L. 318 Op. 151. 12 Easiest Studies.
L. 425 Op. 157. 12 Easy Studies. (Klauser).
L. 535 Op. 82. The same: Bk. II.
L. 196 Op. 163. 16 Elementary Studies.
L. 536 Op. 83. The Easiest Studies in Velocity.
24 Studies on Scales and .\rpeggios.
L. 480 Op. 190. The Very Easiest Studies.
L. 807 Op. 85.
L. 321 Op. 242. Short School of Velocity without
L. 539 Op. 100. 24 Octave Studies.
Octaves.
L. 323 Op. 107. Buds and Blossoms. 12 Melodious Metodo Practico.
L. 1082 Op. 249. sp. e. Bk. I.
Studies.
L. 9.35 Op. 300. Practical Method. (Oesterle). Bk. I.
L. 324 Op. 117. The First Lessons.
L. 936 Op. 300. The same: Bk. II.
L. 339 Op. 130. 35 Easy Studies without Octaves.
L. 206 Op. 131. 24 Melodious and Progressive Studies. KRAUSE, A.
I,. .326 Op. 141. School of Velocity. 24 Short Studies for
L. 553 Op. 2. 10 Trill Studies.
Beginners.
J H.\BERBIER, E. KUHNER, C.
L. 481 School of Etudes. Bk. I: Lower Elemen-
L. 191 Op. 53. Etudes-Poesies. (Ruthardt).
tary Grade.
Op. 59. L. 482 The same: Bk. II. Elementary Grade.
I HANDROCK, J.
L. 483 The same: Bk. III. Lower Medium Grade.
A L. 299 Mechanical Studies. KULLAK, T.
X HANON, C. L.
L. 475 Op. 48. The School of Octave-Playing. Bk. I:
Preliminary School.
A I.. 925 The Virtuoso
Complete.
Pianist in 60 Exercises. L. 476 Op. 48. The same: Bk. II: 7 Octave Studies.

A I.. 1071 The same: Bk. I. KUNZ, K. M.

T L.
I..
1072
1073
The same: Bk. II.
The .same: Bk. III.
L. 939 Op. 14. 200 Short Two-Part Canons. For the
Beginner.
The same: sp. Complete.
A I,. 1081
LE CARPENTIER, A.
A HELLER, S. L. 1133 A Piano Method for Children, sp. e.
L. 179 Op. 16. The Art of Phrasing. 26 Melodious
X L. 180 Op. 16.
Studies. Bk.
The same: Bk.
I.

II.
LE COUPPEY,
L. 4.30 Op. 17.
F.
The Alphabet. 25 Very Easy Studies.
A L. 176 Op. 45. 25 Melodious Studies. Complete. (Scharfenberg).
L. 1117 The same: Bk. I. L. 67 Op. 20. L'Agilite. 25 Progressive Studies for
A I,. 177
Op.
Op.
45.
46. 30 Progressive Studies. Complete.
L. 63
Mechanism and Light Touch.
15 Preparatory Studies to Czerny's
A L. 1120
L. 178
Op.
Op.
46.
47.
The same: Bk. I.
25 Studies for Rhythm and Expression.
Op. ?6.
"School of Velocity".

A L. 1123 Op. 47.

Complete.
The same: Bk. I.
LEMOINE, H.
A L. 130 Op. 81. 24 Preludes.
L. 175 Op. 37. Etudes Enfantines. (Scharfenberg).
LISZT, F.
A L. 748
L. 766
Op. 119,
Op. 125.
.32Preludes. (Oestcrle).
24 Studies for Rhythm and Expression. L. 8.35 6 Grand Etudes after N. Paganini.
A L. 24
(Scharfenberg).
50 Selected Studies from Op. 45, 46, 47. L. 788 12
(Galileo).
Etudes d'execution transcendante.
A (Oesterle). (Gallico).

A
A
G. SCHIRMER, INC, NEW YORK
DiaiON COPYRIOHT. I»S*.
y-'^y^y^y^y^y^'>^^^'^^'>^^
VT « CHINMfH • MC
^ 3^
 S c H I RME R'S Library
of Musical Classics
PIANO METHODS, STUDIES, AND EXERCISES
SERIES ONE

BERENS, H. CRAMER, J. B.
L. 1070 Op. 61. School of Velocity. 40 Studies. Complete. L.142
The Same. L. 259, Bk. I; L. 260, Bk. II;
L. 262. Bk. III.
L. 504 Op. 70. 50 Pieces without Octaves. For Begin-
ners.
L. 508 Op. 79.
—
20 Children Studies without Octaves.
L. 526 Op. 88. The School of Scales, Chords, and Em-
bellishments. 28 Studies.
L.1031 Op. 89. Training of the Left Hand. 40 Exercises
and 25 Studies.
BERTINI, H.
L. 137 Op. 29. 24 Studies. Preparatory to the Cramer
Studies (Vogrich-Buonamici).
L. 138 Op. 32. 24 Studies. A sequel to Op. 29. (Vogrich-
Buonamici).
L. 136 Op. 100. 25 Easy Studies. (Vogrich-Buonamici).
L. 758 Op. 101. 24 Melodious Pieces.
L. 795 50 Selected Studies from Op. 100, 29, and
32. (Germer).
L. 691 Op. 166. 25 Primary Etudes. (Osterle).
L. 1588 50 Selected Studies from Op. 29, 32, 100,
134 (Buonamici-Cornell). Bk. I;
L. 1589, Bk. II. sp. e.

BIEIIL, A.
L. 530 Op. 30. The Elements of Piano-Playing.
L. 497 Op. 44. 25 Easy and Progressive Studies. With
special reference to the left hand.
Bk. I; L.498, Bk. II.

BRAHMS, J.
L. 1600 51 Exercises.
BRAUER, F.
L. 494 Op. 15. 12 Studies for Development of Velocity.
BURGMULLER, F.
L. 500 Op. 100. 25 Easy and Progressive Studies. (Oes-
J terle). Complete.
The Same. L. 977, Bk. I; L. 978, Bk. II.
L. 755 Op. 105. 12 Brilliant and Melodious Studies. (Oes-
terle.
L. 752 Op. 109. 18 Characteristic Studies (Oesterle),
CHOPIN, F.
A L. 1551 Etudes (Mikuli).
L 33 Etudes (Friedheim.)

A CLEMENTI, M.
L.167 Gradus ad Parnassum. 100 Exercises.
A L.780
(Vogrich). Bk. I.; L. 168, Bk. II.
Gradus ad Parnassum. 29 Selected Stud-
A L.1112
ies.
The Same.
(Tausig).
sp. f. e.
A L.376 Preludes and Exercises in all the Major
and Minor Keys. (Vogrich).
A CONCONE, G.
A L. 139 Op. 24. 25 Melodic Studies. (Oesterle).
L.141 15 Studies in Style and Expression.
A Op. 25.
(Oesterle).
A L. 140 Op. 30. 20 Studies on the Singing Touch.
(Oesterle).
A L.1374 Op.
L. 226
31.
37.
15 Studies in Style. (Deis).
24 Brilliant Preludes in all the Major
Op.
A and Minor Keys. For Small Hands.
L.1030 Op. 44. 15 Studies in Expression, (von Doenhofif)
A L.25 30 Selected Studies. (Oesterle).
A
A
G. SCHIRMER, INC.,
^^^vv-'