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Czerny op 335 #2, 2 Versions

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

Op 335 #2 1st Version Audio

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 1st Version Score


Op 335 #2, 2nd Version: 4/4 horn duet with running 8th-note accompaniment, 16 sets of 8-count phrases

Op 335 #2 2nd Version Audio

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.

Op 335 #2 2nd Version Score

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It’s well to go into some detail analyzing my approach to this first study of Op 335; the analysis can serve as illustration of my approach to the rest of the studies in this and the other collections

This is great frappe music. The energetic staccato and the 8th note anacruses in the A Section powerfully energize the downbeats--the “strike” of a frappe--and in my arrangement I’ve dotted the chords

Almost all the studies of Op 335 feature polyphony in 2 or more voices, and often, as here, 3 and 4 voices. But with 4 voices Czerny tends, as here, to avoid counterpoint; the voices congeal into chor