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  • rudyapffelmusic
    • Jan 31, 2021
    • 1 min read

Czerny Op 740 #50, 2 Versions

At a tempo well under Czerny’s, this dark surging arpeggio study makes excellent Grands Battements music, and working it up for ballet class can be quick because it readily resolves into a one-pager in which Czerny’s note patterns are relatively easy.


Op 740 #50 1st Version: Grands Battements in 2, 8 sets of 8

Op 740 #50 1st Version Audio

This is my performance of #50 trimmed to a one-pager. I play mm 1-23 as written, then substitute m 8 for m 24 and repeat mm 9-15. I then rewrite m 16 to create a simple final cadence in the home key.


Finally, to conclude, a bit of whimsy:


Op 740 #50 2nd Version: “Mishap on the Volga,” 12 sets of 8 + cadenza

Op 740 #50 2nd Version Audio

This is my performance of my 1st Version of #50 reshaped as a spoof of Czerny's "story" etudes (eg, Op 692 and such lavish follow-throughs as Alkan's Op 35 #7). I supply a score where it will be seen that after the first RH and LH statements of the tune I supply only the incipits of the re-iterations until the last one, and then the cadenza.

Op 740 #50 2nd Version Score

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There’s a lot to recommend #42 to a ballet accompanist. If you fill out Czerny’s LH with a light waltz accompaniment it makes a solid petit allegro 6/8. It’s effective at much slower tempos, at which

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

I love the sparkle of Czerny’s note pattern here, and the music remains quite effective with the metronome at 100 rather than his 120. Limiting myself to a one-pager, mm 1-24 are easily shaped into a

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