The closer you can get to Czerny’s tempo the more effective this study in perpetuum mobile is, and, inevitably, the more difficult to play. The RH double notes aren’t difficult by themselves, but the held long notes, which halo the continuous triplet motion, necessitate complicated fingering if they’re to be heard and sustained.
Czerny’s basic compositional process presents a main block of material (mm 1-16) which is then fragmented and interspersed with unrelated material (mm 17-56) before being repeated (mm 57-72) and then followed by a coda ending the piece. To me the middle section (mm 17-56) seems untidy. Czerny introduces short passages of new texture and voicing that are too brief and arbitrary to sound like “development”--4 measures of LH 3rds and RH octaves, a 3-measure scale in contrary motion. But he also throws in some ingeniously decorated scales, and these are gloriously pretty--mm 29 ff, mm 49ff, mm 73ff…
Op 335 #34, 1st Version: 6/8 scherzo, 32 sets of 8-count phrases
This is my performance of my simplified arrangement of Czerny’s #34, for which I provide a score. My chief concern was to adapt Czerny’s study to my personal technical limitations so that I might be able to play it at Czerny’s tempo and project its delightful scamper. My secondary concern was to shape the music into clearly audible structural units. To that end I fashioned a ternary structure (ABA) using Czerny’s mm 1-16 for the A section and parts of the rest of his piece for the B section. In my B section I created an 8-bar melodic episode of my own (my mm 38-45) to contrast with the A section and to link Czerny’s material. Also in the interest of structural clarity I made certain RH cadences full stops.
Op 335 #34, 2nd Version: 6/8 scherzo, 32 sets of 8-count phrases
This is an “idealization” of my 1st Version of #34 realized with DAW software that allowed me to deploy the voices across the keyboard. I’ve tried to give Czerny’s light 6/8 writing more of a Mendelssohnian character by further reducing the texture of my 1st Version and making the voices “speak” more with motivic inflections.