This is certainly very modest music, and at Czerny’s deliberate tempo you have to work to keep it from sounding banal. But the clear 2-part counterpoint and the character of calm simplicity make it well suited to something calm and simple in ballet class--maybe the first tendus at barre. The only thing you need to do is square it off (take care of the enjambed cadence at m 32) and decide how much of it you want to use.
Op 335 #2, 1st Version: 4/4 “horn tune” with running 8th-note accompaniment, 8 sets of 8-count phrases
This is a performance of my squared-off arrangement, for which I provide a score. I’m at Czerny’s tempo and trying to project throughout the strength and groundedness of the opening “horn” motif. I introduced some LH activity in the last four bars so as not to fade out too soon.
Op 335 #2, 2nd Version: 4/4 horn duet with running 8th-note accompaniment, 16 sets of 8-count phrases
This is a performance of my arrangement of #2 with Czerny’s horn part realized for two voices. I provide a score. I use only the first 16 measures of Czerny’s study and shape it into ternary form. I’ve quickened the tempo, increased the melodic activity, and introduced some mild counterpoint in the B section.