DOI: https://doi.org/10.31318/2522-4190.2019.125.188913

The genre of piano concerto in the creativity of Carl Czerny

Halyna Stakhevych

Abstract


Relevance of the study. The genre of the piano concerto of the first third of the 19 century — is one of the most interesting components of the piano concert heritage. It is a rather large stratum of piano literature, which today hasn't received proper study. The innovations of the early romantic piano concerto are reflected in the works of pianists-composers of Austro-German music, among who is Carl Czerny, whose achievements have not received proper lighting yet.

Scientific novelty. Czerny’s concerts are reviewed and analyzed for the first time, whose concert creativity has not been widely studied in Ukrainian musicology.

Main objective. The purpose of the article is to consider the stylistic and compositional features of С. Czerny’s concert work and to determine its place in the piano concert art of the romantic era.

Methodology. In order to reveal the peculiarities of С. Czerny’s composer style and to analyze his musical works, the methods of historical-comparative interpretation and theoretical generalization are used in this article. The discovery of stylistic peculiarities of piano concertos by С. Czerny, artistic-figurative content, structure, expressive and technical means, etc., was carried out with the help of musical-theoretical and performing analysis.

Results. The most famous Austro-German piano composer of the first decades of the nineteenth century was Carl Czerny, whose creative work has not been adequately covered today. The artist created three concerts for piano and orchestra, which were created in the second half of the 1810s and 1820s. Turning to the innovations of C. Czerny in the concert genre, one must note the development of romantic traditions in the harmonious language, in particular, the strengthening of the lyrical and dramatic-pathetic beginnings of dramaturgy. In his works the diversity of the tonal coloration is noted, as well as the significant complication of the harmonic stratum. On the technical side, C. Czerny uses innovative techniques for the beginning of the 19 century, bringing to the brink of virtuosity the so-called “pearl” game. However, this did not lead to a compositional and dramaturgical disorder: all the concerts by C. Czerny are full of deep meaning and a truly sincere feeling, they are organic in the form and logic of musical development.

Conclusions. Czerny’s piano concertos are a prime example of style changes, in which are tendencies of renewal of musical language, expansion of artistic means of expression (especially in the solo instrument parts), new compositional and textural solutions, a change in the ensemble ratio, etc. A deeper study of the creative heritage of Czerny will make it possible to trace the changes in musical thinking, which is most clearly expressed in the music of the first third of the 19 century. The concise analysis of concert art made in the article does not claim to be exhaustive and requires further study.


Keywords


early romanticism; creation of C. Czerny; piano concert; piano performance; pianistic innovations; ensemble

References


Ajzenshtadt, S. L. (2010). Music teacher. The life and creation of Carl Cherni [Uchitel’ muzyki. Zhizn’ i tvorchestvo Karla Cherny]. Moscow: Kompozitor, 216 p. [In Russian].

Kulikov, A. E. (2015) Carl Cherni's Piano Sonatas and Their Place in Music History [Fortepiannye sonaty Karla Cherny i ih mesto v istorii muzyki]. The dissertation author’s abstract for gaining the degree of the Candidate of Art Criticism by specialty 17.00.02 Music Art. Tchaikovsky Moscow State Conservatory. Moscow, 18 p. [in Russian].

Kieldysh, H. V. (ed.) (1991). Musical encyclopedic dictionary [Musykal’nyj jenciklopedicheskij slovar']. Moscow: Sovetskaja jenciklopedija, 672 p. [in Russian].

Riman, G. (1904). Czerny [Cherny]. In: Riman, G. Music dictionary [Myzukal’nyj slovar’], in 3 vol. vol. 3 [Tom 3]. Moscow: Izdatelstvo P. Jurgensona, pp. 1406–1407 [In Russian].

Rojzman, L. K. (1940). Cherni and his edition of Bach clavier works [Cherni i ego redakcija klavirnyh sochinenij Baha]. Moscow: Sovetskaja muzyka, 40 p. [In Russian].

Stakhevych H. O. (2019). Piano concert in the context of stylistic processes of the first third of the 19 century (based on the works of J. N. Hummel, I. Moscheles and F. Ries) [Fortepiannyi konsert u konteksti stylovykh protsesiv pershoi tretyny XIX stolittia (na materiali tvorchosti Y. N. Hummelia, I. Moshelesa ta F. Rysa)]: The dissertation author’s abstract for gaining the degree of the Candidate of Art Criticism by specialty 17.00.03 Music Art / Sumy State Pedagogical University named after A.S. Makarenko. Sumy, 20 p [in Ukraine]

Terent’eva, N. (1999). Carl Czerny and his etudes [Karl Cherni i ego jetjudy]. Saint-Petersburg: Kompozitor, 68 p. [In Russian].

Tihonov, S. I. (1994). Czerny and Russian pianists to the question of the genealogy of the Russian piano school [Cherni i russkie pianisty. K voprosu o genealogii otechestvennoj fortepiannoj shkoly]. Problems of Romanticism in the performing arts [Problemy romantizma v ispolnitel’skom iskusstve]. Scientific treatises [Nauchnye traktaty]. Moscow State Conservatory. Moskow: NTC «Konservatorija», Vol. 6, pp. 93–106. [In Russian].

Grove, Dj. (1904). Czerny Carl. In: Grove, Dj. Dictionary of music and musicians. In five volum. New York: The Macmillan company, London: Macmillan & CO., Ltd. Vol. I., p. 650 [in English].

Haas, R. (1957). Carl Czerny. In: Haas R. Musica. Vol. 11, pp. 7–8 [in German].

Hyperion. The romantic piano concerto, Vol. 71: Carl Czerny; Howard Shelley & Tasmanian Symphony Orchesrta. Available at: http://classicalsource.com/db_control/db_cd_review.php?id=14601 (accessed: 25.04.2019) [in English].

Ossberger, H. (2005). Piano Master in Europe: From Czerny to Chopin and Liszt to Paderewski [Klaviermeister in Europa: Von Czerny über Chopin und Liszt zu Paderewski]. Österreichische Musikzeitschrift, vol. 60, is. 1–2, pp. 31–37 [in German].


GOST Style Citations


Айзенштадт С. Л. Учитель музыки. Жизнь и творчество Карла Черни. Москва : Композитор, 2010. 216 c.

Куликов А. Е. Фортепианные сонаты Карла Черни и их место в истории музыки : автореф. дис. ... канд. искусствоведения : спец. 17.00.02 Музыкальное искусство / Московская гос. консерватория им. П. И. Чайковского. Москва, 2015. 18 с.

Музыкальный энциклопедический словарь / гл. ред. Г. В. Келдыш. Москва : Сов. энциклопедия, 1991. 672 с.

Риман Г. Черни (Czerny) // Риман Г. Музыкальный словарь / пер. с 5-го нем. изд. Б. Юргенсона ; под ред. Ю. Энгеля : в 3 т. Т. 3. Москва : Изд-во П. Юргенсона, 1904. C. 1406–1407.

Ройзман Л. К. Черни и его редакция клавирных сочинений Баха // Советская музыка. Москва, 1940. 40 с. С. 62–68.

Стахевич Г. О. Фортепіанний концерт у контексті стильових процесів першої третини ХІХ століття (на матеріалі творчості Й. Н. Гуммеля, І. Мошелеса та Ф. Риса) : автореф. дис. ... канд. мистецтвознавства : спец. 17.00.03 Музичне мистецтво / Сумський держ. пед. ун-т ім. А. С. Макаренка. Суми, 2019. 20 с.

Терентьева H. Карл Черни и его этюды. Санкт-Петербург : Композитор, 1999. 68 с.

Тихонов С. И. Черни и русские пианисты. К вопросу о генеалогии отечественной фортепианной школы // Проблемы романтизма в исполнительском искусстве. Науч. трактаты. Москов. гос. консерватории. Москва : Консерватория, 1994. Вып. 6. С. 93–106.

Grove Dj. Czerny Carl // Grove’s dictionary of music and musicians, in five vol. New-York : The Macmillan company, London: Macmillan & Cо., 1904. Vol. I. Р. 650.

Haas R. Carl Czerny // Musica. 1957. Jahrg 11. P. 7–8.

Hyperion. The romantic piano concerto. Vol. 71. Carl Czerny; Howard Shelley & Tasmanian Symphony Orchesrta. 15 p. URL: http://classicalsource.com/db_control/db_cd_review.php?id=14601 (accessed: 25.04.2019).

Harald Ossberger. Klaviermeister in Europa: Von Czerny über Chopin und Liszt zu Paderewski Österreichische Musikzeitschrift, 2005. Band 60, Ausgabe 1–2. P. 31–37.





ISSN 2522-4190 (print)
ISSN 2522-4204 (online)