This is another study whose difficulty and charm made me determined to make an arrangement that would forgive my technical shortcomings but allow me to play some wonderful music. With practice, and Czerny’s fingering, the descending RH thirds, mm 1-4, can be easily managed. The double-note writing becomes more challenging as the piece develops, but there are many ways of thinning the texture while preserving what I think is the loveliest feature of this study, the LH’s singing, skipping musings under, over and sometimes through the thicket of RH double notes, and the dancing but subdued character of the piece as a whole.
The effect of Czerny’s first four bars is like the music calmly descending from the sky and then landing to begin its buzzing dance starting on m 5. I love that effect and, in keeping with the symmetries and repetitions of ballet class combinations, I decided to make that descent-and-landing the architectural and musical feature of a simplified, shortcut arrangement.
Op 335 #43, 1st Version: light 4/4 dance with running RH double notes, 16 sets of 8-count phrases
This is my performance of my simplified arrangement of #43, for which I supply a score. I use only 16 measures of Czerny’s music. For me his mm 1-8 are musically the most attractive material, and I transpose it to G and D so as to present it three times.
I liked the textures and harmonies of this study so much that I wanted to create a 3/4 version, a short “fantastical” waltz.
Op 335 #43, 2nd Version: “fantastical” waltz, 8 sets of 8-count phrases
This is an arrangement, using DAW software, of my 1st Version, recasting it in 3/4 and highlighting Czerny’s contrasting characters of “descent” (his mm 1-4) and “landing” (his mm 5-8).