Book contents
- Frontmatter
- Contents
- Illustrations
- Foreword
- Acknowledgments
- Introduction
- Chapter One Carl Czerny and Post-Classicism
- Chapter Two Czerny’s Vienna
- Chapter Three Carl Czerny’s Recollections: An Overview and an Edition of Two Unpublished Autograph Sources
- Chapter Four A Star Is Born?: Czerny, Liszt, and the Pedagogy of Virtuosity
- Chapter Five The Veil of Fiction: Pedagogy and Rhetorical Strategies in Carl Czerny’s Letters on the Art of Playing the Pianoforte
- Chapter Six Carl Czerny: Beethoven’s Ambassador Posthumous
- Chapter Seven Playing Beethoven His Way: Czerny and the Canonization of Performance Practice
- Chapter Eight Carl Czerny and Musical Authority: Locating the “Primary Vessel” of the Musical Tradition
- Chapter Nine Carl Czerny, Composer
- Chapter Ten Carl Czerny’s Mass No. 2 in C Major: Church Music and the Biedermeier Spirit
- Chapter Eleven Carl Czerny’s Orchestral Music: A Preliminary Study
- Chapter Twelve Not Just a Dry Academic: Czerny’s String Quartets in E and D Minor
- Chapter Thirteen Czerny and the Keyboard Fantasy: Traditions, Innovations, Legacy
- Chapter Fourteen The Fall and Rise of “Considerable Talent”: Carl Czerny and the Dynamics of Musical Reputation
- Appendix Musical Autographs by Carl Czerny in the Archiv der Gesellschaft der Musikfreunde in Wien: A Checklist
- Contributors
- Index of Names
- Index of Works
- Eastman Studies in Music
Appendix - Musical Autographs by Carl Czerny in the Archiv der Gesellschaft der Musikfreunde in Wien: A Checklist
Published online by Cambridge University Press: 10 March 2023
- Frontmatter
- Contents
- Illustrations
- Foreword
- Acknowledgments
- Introduction
- Chapter One Carl Czerny and Post-Classicism
- Chapter Two Czerny’s Vienna
- Chapter Three Carl Czerny’s Recollections: An Overview and an Edition of Two Unpublished Autograph Sources
- Chapter Four A Star Is Born?: Czerny, Liszt, and the Pedagogy of Virtuosity
- Chapter Five The Veil of Fiction: Pedagogy and Rhetorical Strategies in Carl Czerny’s Letters on the Art of Playing the Pianoforte
- Chapter Six Carl Czerny: Beethoven’s Ambassador Posthumous
- Chapter Seven Playing Beethoven His Way: Czerny and the Canonization of Performance Practice
- Chapter Eight Carl Czerny and Musical Authority: Locating the “Primary Vessel” of the Musical Tradition
- Chapter Nine Carl Czerny, Composer
- Chapter Ten Carl Czerny’s Mass No. 2 in C Major: Church Music and the Biedermeier Spirit
- Chapter Eleven Carl Czerny’s Orchestral Music: A Preliminary Study
- Chapter Twelve Not Just a Dry Academic: Czerny’s String Quartets in E and D Minor
- Chapter Thirteen Czerny and the Keyboard Fantasy: Traditions, Innovations, Legacy
- Chapter Fourteen The Fall and Rise of “Considerable Talent”: Carl Czerny and the Dynamics of Musical Reputation
- Appendix Musical Autographs by Carl Czerny in the Archiv der Gesellschaft der Musikfreunde in Wien: A Checklist
- Contributors
- Index of Names
- Index of Works
- Eastman Studies in Music
Summary
This list includes all the music autographs by Carl Czerny held as of spring 2006, including complete scores or fragments, without any distinction between autographs coming into the holdings of the Archives as a part of Czerny's estate and autographs bought or donated later on. If there is no other indication the autographs are scores. Not included are manuscripts by copyists just signed by Czerny or manuscripts by copyists with only a few corrections by Czerny.
1. 2te Solenne Messe
Komponiert 1830, revidiert 1842
[Score of the revised version]
C Major
S, A, T, B (soloists and choir), strings, 1 flute, 2 oboes, 2 bassoons, 2 horns,
2 trumpets, timpani
2. Mass in C Major
[First version, 1830, of second Solenne Messe, no. 1 above]
S, A, T, B (soloists and choir), strings, 1 flute, 2 oboes, 2 bassoons, 2 horns,
2 trumpets, timpani
3. 3te Solenne Messe
Komponiert 1831, revidiert 1842
[Score of the revised version]
E-Flat Major
S, A, T, B (soloists and choir), strings, 1 flute, 2 clarinets, 2 bassoons, 2 horns,
2 trumpets, timpani
4. 4te Solenne Messe
1832
[Score of a later revised version; on the basis of its paper perhaps also from 1842]
B-flat Major
S, A, T, B (soloists and choir), strings, 1 flute, 2 clarinets, 2 bassoons, 2 horns,
2 trumpets, timpani
5. 4te Messe
Angefangen im Juli 1832. Geendet d[en] 14. August [1]832
[Score of an early version of the fourth Solenne Messe, no. 4 above]
B-flat Major
S, A, T, B (soloists and choir), strings, 1 flute, 2 clarinets, 2 bassoons, 2 horns,
2 trumpets, timpani
Bound with:
5te Messe
Angefangen im Juli 1832
B-flat Major
S, A, T, B (soloists and choir), strings, 1 flute, 2 clarinets, 2 bassoons, 2 horns,
2 trumpets, timpani
6. 8te Messe
1839 May
C Major
S, A, T, B (soloists and choir), strings; ad libitum: 2 oboes, 2 bassoons, 2
horns, 2 trumpets, timpani
Supplement:
Gloria. Statt der letzten 8 Takte. [Gloria. Substitute for the last eight measures.]
Den 10 Dec[ember] 1840 angefang[en] u[nd] vollendet [Begun and completed
on December 10, 1840.]
7. Missa
1837
E-flat Major
S, A, T, B (soloists and choir), strings, 1 flute, 2 oboes, 2 clarinets, 2 bassoons,
2 horns, 2 trumpets, timpani
- Type
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- Information
- Beyond The Art of Finger DexterityReassessing Carl Czerny, pp. 245 - 262Publisher: Boydell & BrewerPrint publication year: 2008