A Dictionary of Music and Musicians/Czerny, Karl

CZERNY, Karl, excellent pianoforte teacher and prolific composer, born at Vienna Feb. 21, 1791. His father, a cultivated musician, taught him the pianoforte when quite a child, and at the age of ten he could play by heart the principal compositions of all the best masters. He gained much from his intercourse with Wenzel Krumpholz the violinist, a great friend of his parents, and a passionate admirer of Beethoven. Having inspired him with his own sentiments, Krumpholz took his small friend to see Beethoven, who heard him play and at once offered to teach him. Czerny made rapid progress, and devoted himself especially to the study of the works of his master, whose friendship for him became quite paternal. Czerny also profited much by his acquaintance with Prince Lichnowsky, Beethoven's patron; with Hummel, whose playing opened a new world to him; and with Clementi, whose method of teaching he studied. He was soon besieged by pupils, to whom he communicated the instruction he himself eagerly imbibed. In the meantime he studied composition with equal ardour. Czerny was always reluctant to perform in public, and early in life resolved never to appear again, at the same time withdrawing entirely from society. In 1804 he made preparations for a professional tour, for which Beethoven wrote him a flattering testimonial, but the state of the continent obliged him to give up the idea. Three times only did he allow himself to travel for pleasure, to Leipsic in 1836, to Paris and London in 1837, and to Lombardy in 1846. He took no pupils but those who showed special talent; the rest of his time he devoted to self-culture, and to composition and the arrangement of classical works. His first published work '20 Variations concertants' for pianoforte and violin on a theme by Krumpholz, appeared in 1805. It was not till after his acquaintance with the publishers Cappi and Diabelli that his second work, a 'Rondo Brillante' for four hands followed (1818). From that time he had difficulty in keeping pace with the demands of the publishers, and was often compelled to write at night after giving 10 or 12 lessons in the day. From 1816 to 1823 Czerny had musical performances by his best pupils at his parents' house every Sunday. At these entertainments Beethoven was often present, and was so charmed with the peaceful family life he witnessed, as to propose living there entirely; the project however fell through owing to the illness of the parents. One of Czerny's most brilliant pupils was Ninette von Belleville, then 8 years old, who in 1816 lived in the house, and afterwards spread the fame of her master through the many countries in which she performed. She married Oury the violinist, and settled in London. She was followed by Franz Liszt, then 10 years old, whose father placed him in Czerny's hands. The boy's extraordinary talent astonished his master, who says of him in his autobiography 'it was evident at once that Nature had intended him for a pianist.' Theodor Döhler and a host of other distinguished pupils belong to a later period. About 1850 Czerny's strength visibly declined; his health gave way under his never-ceasing activity, and he was compelled to lay aside his indefatigable pen. His active life closed on July 15, 1857, shortly after he had, with the help of his friend Dr. Leopold von Sonnleithner, disposed of his considerable fortune in a princely manner. Czerny was never married, and had neither brothers, sisters, nor other near relations. He was modest and simple in his manner of life, courteous and friendly in his behaviour, just and kindly in his judgment on matters of art, and helpful to all young artists who came in his way. His disposition was so gentle that he shrank from a harsh or coarse word even spoken in jest, which was partly the cause of his living so much in retirement. His industry was truly astounding. Besides his numerous printed works, which embrace compositions of every species for pianoforte he left an enormous mass of MS., now in the archives of the 'Gesellschaft der Musik-freunde' at Vienna. These compositions comprise 24 masses, 4 requiems, 300 graduales and offertoires, symphonies, overtures, concertos, string-trios and quartets, choruses, songs for one or more voices, and even pieces for the stage. His book 'Umriss der ganzen Musikgeschichte' was published (1851) by Schott of Mayence, and in Italian by Ricordi of Milan. His arrangements of operas, oratorios, symphonies, and overtures for 2 and 4 hands, and for 8 hands on 2 pianofortes are innumerable. As a special commission he arranged the overtures to 'Semiramide' and 'Guillaume Tell' for 8 pianofortes four hands each. An arrangement for pianoforte of Beethoven's 'Leonora,' which he made in 1805, was of great service in training Czerny for this kind of work. He says in his Autobiography, 'It is to Beethoven's remarks on this work that I owe the facility in arranging which has been so useful to me in later life.' His printed compositions amount to nearly 1000: of which many consist of 50 numbers or even more. A catalogue containing op. 1–798, with the arrangements and the MS. works, is given in his 'School of practical composition' (op. 600, 3 vols. Cocks and Co.). Czerny's pianoforte compositions may be divided into three classes, scholastic, solid, and brilliant. The best of all, especially if we include the earlier works, are undoubtedly the scholastic, op. 299, 300, 335, 355, 399, 400, and 500, published under the title 'Complete Theoretical and Practical Pianoforte School' (3 vols. Cocks). However worthy of admiration Czerny's industry may be, there is no doubt that he weakened his creative powers by over-production, and the effect has been that the host of lesser works have involved the really good ones in undeserved forgetfulness.

[ C. F. P. ]