I can get Czerny’s arpeggiation up to around the quarter @90, and mm 1-16 with repeats make a lovely short Adagio (2 sets of 8 on each side) in binary form. It’s notey and rather robust, and Czerny is expressly going for a scintillating “vivace,” which doesn’t suit most ballet class Adagios, so I try to project a hushed quality.
Op 740 #43 1st Version: short 3/4 Adagio, 4 sets of 8
This is my performance of #43, mm 1-16 with repeats, and projected as a short Adagio.
Any 3/4 Adagio can easily be converted to a useful 4/4 Adagio by simply repeating one beat (sometimes the first, more usually the last) of each measure in both hands, tweaking where necessary. This mechanical procedure works especially well in Czerny’s big arpeggiated 3/4 studies like #43, where each measure is crowded with melodic movement and harmonic change embeded in the note pattern. Repeating the last beat gives the material welcome space.
Op 740 #43 2nd Version: 4/4 Plies, 16 sets of 8
This is my performance of #43 recast in 4/4 by repeating one beat (usually the last) of each measure. My metronome setting is typical for 4/4 Plies: the quarter @75, with two counts per measure. This makes Czerny’s RH sextuplets quite easy to play, and so I used all of his beautiful material. I needed a few measures more than Czerny wrote, so I repeat mm 19-26, reharmonizing m 26 the first time to stay in B minor, and then using his harmony to move to D major.
You can always rebar and renotate Czerny’s densely notey 3/4’s to get, with more or less success, some kind of waltz. In the case of #43 cut each measure down the middle, change the 16th tuplets to 8th triplets, adapt a LH quarter note um-pa-pa accompaniment to the RH, and you’ve got a waltz in continuous hemiola. “Goofy” as such a waltz may be, it can work if you accent the RH quarter beats and weight the LH so as to override the hemiola, and Czerny’s writing emerges as a completely new piece of music--a short stampy landler.
Op 740 #43, 3rd Version: little Landler, 8 sets of 8
This is my performance of my 1st Version of #43 rebarred and recast as a Landler, for which I provide a score.
I love the harmonic progression with which Czerny leaves his A section and starts his B section: A - A2 - B6/4 - e. And with the soprano in step-wise ascent and the bass in step-wise descent I always hear the third line of the Bach chorale “Bin ich gleich von dir Gewichen” (“Ich verleugne nicht die Schuld”). That gave me the idea of a cantus firmus treatment of #43.
Op 740 #43, 4th Version: short waltz on Bach's “Bin ich gleich von dir Gewichen” in cantus firmus, 8 sets of 8
This is my performance of my 3rd Version with Bach’s “Bin ich gleich...” (St Matthew Passion, #48) as a cantus firmus. Czerny’s RH harmonies are rewritten to fit the chorale tune. I provide a score.
I very much like the off-kilter-ness of #43 rebarred as a waltz. The LH keeps everything on track and I don’t think anyone in class is particularly bothered by the occasional shifting focus of the RH material. Sped up to a centre allegro tempo (the quarter @180) the off-kilter waltz is even more beguiling to me.
Op 740 #43, 5th Version: extended quick waltz, 28 sets of 8
This is a performance of #43 rebarred and recast as an extended quick waltz for centre allegro. It was created using DAW software since I can’t play the RH at that tempo.