In my opinion, only if you can get at or near Czerny’s tempo can you keep #22 from sounding trite. It’s musical ideas are so slight that the interest is inevitably the texture of the RH and the varied support in the LH. For the most part, while you practice to get “up to speed” you can present the piece convincingly using a simple measured trill in the RH instead of Czerny’s eight-32nd’s pattern (mm 1-6, 9-12, etc).
Czerny starts it out as “shimmery” music, but soon introduces unexpected color (the LH mm 7-8), lively accents and changes of dynamic. For class you should probably try to project it one way or the other, “shimmery” or “lively.”
The first 16 bars make a great one-pager--”great” because it’s short but repeats well. All you have to do is reharmonize the second half of m 16 into the dominant so as to lead back into m 1’s tonic, and then create a final quiet cadence when you get to m 16 the second time.
A subtle but important issue arises from Czerny’s expression in #22: we know he intends echo effects in mm 3-4, 11-12, etc. He doesn’t indicate it in the score; we supply the change of dynamic because as musicians we see it in the score, we hear it in our playing, and respond automatically. But in class we have to be careful about letting “echo” become support dropping out in a combination. We have to figure out what “echo” should mean in the moment.
Op 740 #22, 1st Version: quick “trilling” march, 8 sets of 8
This is my performance of #22’s mm 1-16, a one-pager, repeated to give the piece useful length.
In one or another of the usual ways #22 can be turned into triple time. The process can be completely mechanical for the RH, but the LH will need some “composing.”
Op 740 #22, 2nd Version: Ronds de Jamb en l’Air, 8 sets of 8
This is my performance of my 1st Version recast in 3/4, for which I provide a score. I’ve split each of Czerny’s measures into two, added four more 32nd’s to each of his 8-note figures, rebarred in 3/8, and then renotated (for convenience) the 32nd’s as 16ths and the meter as 3/4. You can shape the 3/4 into any number of different types and characters. I said that only if you can get near Czerny's tempo can you keep this music from sounding trite... By way of experiment in this arrangement I'm far below Czerny's tempo; I’m going for something suave and light, which is what I see in Ronds de Jamb en l’Air.