Czerny Op 335 #5, 2 Versions
Like many of the studies of op 335 this one is in simple binary form and four-square structure, making it ready-made for ballet class...except for the 3/2 meter.
A teacher may set a combination in a very slow three with each beat subdivided, amounting to a 3/2, but that’s very rare; if you use this piece as written it will more likely be for a 6/4. And again, a 6/4 is rare in ballet class; it will almost certainly be counted as 3/4. Add to this, Czerny’s 3/2 meter is only occasionally evident (mm 6, 7...10?). So at the outset I treated #5 as a 3/4 and rebarred it accordingly. After some experiment I settled on 6/8 as the best way to make use of Czerny’s music.
Op 335 #5, 1st Version: 6/8 adagio in 4-voice counterpoint, 8 sets of 8-count phrases
This is a performance of my 6/8 arrangament of #5, for which I provide a score. I’ve slowed Czerny’s tempo to a typical ballet class triple-time adagio. I want the fluently shifting harmonies and chordal polyphony to convey a character of quiet serenity, but I’ve introduced contrapuntal movement among the voices with dottings and syncopations to give that serenity some dynamism. In each measure I dot the strong beat in at least one voice to create a more propelled rhythm.
Op 335 #5, 2nd Version: gently flowing siciliano, 8 sets of 8-count phrases
This is a performance of my arrangement of #5 as a siciliano, and I supply a score. Czerny’s LH bass and tenor are used to create a typical arpeggiated accompaniment, and his RH soprano and alto make up the melody (with less counterpoint than in my 1st version). I’ve made the LH alternately legato and staccatto for color, and occasionally moved it to a lower register for the same reason. I’ve modified Czerny’s melodic lines for a smoother cantabile. I’ve kept Czerny’s metronome marking--a good tempo for a siciliano.