Carl Czerny

It was estimated that six hundred francs was a fair price for their household effects.

On their arrival in Vienna, the father selected the distinguished and unassuming Carl Czerny for the boy's teacher, for Czerny had been Beethoven's pupil a short time and played nearly all of his compositions by heart.

It was only the wonderful endowment of the boy that induced the overburdened teacher to accept him, and when he had finished playing to him, he won his complete affection, as he did Beethoven's.

How could a boy of such a fiery musical spirit, who had enjoyed such a free and overflowing life in this art of his youth, play the dry, pedantic Clementi, which Czerny had first selected as the pedagogical groundwork? "If he visited a music store, he never found a piece difficult enough to suit him," said our informant.

It's so funny, I can still see those papers.

I used to use a green pen and the names of my pieces were Czerny, Bach, Mozart and so on.

and that I didn't understand that the styles I was playing, the different composers were the names of the composers for me.

It was, okay, it's a style and I'm composing this style, so I named the piece Mozart.

what about yes

because what I'm wanting to tell that you know it's still scherzo but it's based on the folk tune so you have that folk tune in the pedal so you still have you know to sing it even in the fast tempo don't play it like you know Czerny etude

Yeah, I know.

And I admire people who can play really fast music flawlessly and effortlessly.

And, and I've got the guy's name on my back, you know, and to his credit and he's, and he's, he's a podcast favorite, but like, Oh, he could have been, know could have seized this opportunity to be like hey you know you need to play uh two strikers up front sometimes vinnie yeah but that he didn't really do that but don't you charity same thing

see them that that that requires like i felt the same way about vlaovic where like i felt sorry for vlaovic for starting this game because i felt like there was no sense of urgency from either ilhan or Czerny or really from the midfield to create chances for the striker.

And I can't fault either Heung-Gyu or Simi for coming in in this game and not really doing anything when the rest of the team isn't supporting them, you know?

I thought Tartar-Kairi Lomaz was fucking dog shit.

As far as the club being too young or, you know, whatever, I, on the one hand, I think, I mean, there's two points that need to be mentioned.

One is that we have yet to see our real starting 11 playing together at all, much less gaining a rhythm and sort of having some consistent playing time together.

And that is, of course, with Trossard on the wing and Vlaovic up top and, you know, either Czerny or Poku on the right side and, you know, Orkun and Junior or Miretti and Thali.

And, you know, we've yet to see that full, our best starting 11 at all.

It would seem that the science of music, for the processes of studying the art are undoubtedly scientific, left little territory for new explorers and inventors.

Despite the great number of etudes that have been written, imagine for one moment what a desert the technique of music would be without Czerny, Clementi, Tausig, Pischner, to say nothing of the great works of Scarlatti and Bach, which have an effect upon the technique but are really great works of musical art.

The Wonderful Efficacy of Scales Personally, I practice scales in preference to all other forms of technical exercises when I am preparing for a concert.

Add to this arpeggios and Bach, and you have the basis upon which my technical work stands.

Chopin's own playing was marked by a delicacy and an intensity that was apart from the bravura playing of most of the artists of his time.

Gottschalk was a keen observer, and he did everything possible to impart this style to me.

I have used the studies of Czerny, Liszt, Henselt, and Clementi to develop brilliancy with pupils.

It should be remembered that the root of all brilliant playing lies in one thing: accuracy.