No.11 MUST’ve been the original inspiration for Chopin’s Op.25-11, I swear. Ditto for No.12, for Op.25-12. No. I3, in turn, was developed from Bach’s Bb major prelude from the Book 1 of the WTC. These things I never realized when I was studying this entire book literally forty years ago.
i do play that but slowly and i tried to do that in a speedy one and it is really impossible for me unfortunately , bravo for thais great play and interpretaion , so Magnificient ,
Unfortunately this had to be removed from the video due to alleged copyright infringement. It’s difficult for us indie channels to challenge copyright even though we made these songs ourselves.
@@thepianofoundation More fun if you get to the School of Virtuosity with all the rapid doubles at twice the speed required compare to one of Chopin's etude !
this clearly sounds like it is played on a MIDI, not by a real pianist. "expertly played by our talented pianist"... delete this nonsense from youtube please
This is NOT a human pianist it's played by a midi interface and possibly acoustically recorded. As such it is bad example because a computer will have make zero difference between thumb passing passage and other necessary acrobatics for the human hand and will play everything the same giving a bad model to learn and follow. This is JUNK and the word MIDI should be in the title !
@@Organintetnational Could you explain more how these exercises aid sight reading please...? Are you able to recognize some of the sections in pieces??
PianothShaveck. You will find a link at the top of the comments section, where you will see the hands and metronome, video 4:44. He plays no. 1, 2 and 3. When you play it at Czerny’s tempo (on an old piano) The Key of Life Czerny Etude op 299 n. 4 «VERY FAST». Czerny op 299/4 at tempo - Asiya Korepanova Czerny Etude op 299 n. 5 REAL TEMPO. Czerny Etude op 299 n.1 REAL TEMPO! What if playing czerny’s piece an IN TEMPO? [Op. 299 No. 39] Czerny Etude op. 299 n. 6 REAL TEMPO! Czerny Etude op 299 n. 3 REAL TEMPO! Czerny Etude op 299 No. 34 Denis Zhdanov
@hit… The signature «@jorislejeune» : Le Pianiste was a Parisian paper on piano playing and music (from 1833 till 1835) and wrote negatively about the op. 299. They complained that ‘all studies require 800 notes per minute’, which is only true in single-beat». Here on YT I find a number of children, some of them younger than 10 years, playing from Czerny op. 299 faster than Wim Winters’ double beat tempo. Therefore we understand that something is wrong with the theory.
It is not wrong. The original full German title is Die Schule der Gelaufigkeit. 40 Uebungstucke um die Schnelligkeit der Finger zu entwickeln. This translates as The School of Fluency. 40 Exercises to develop the speed of the finger. The early German edition of 1840 prints the full French title underneath the German: Etude de la vélocité, 40 Exercises calculés a développer l'agilité des doigts. Translation: Study of Velocity. 40 Exercises calculated to develop the agility of the fingers. The French title is not wrong. It simply puts 'velocity/speed' into the main title and 'agility/fluency' into the subtitle. The English editions translated the French title, but omitted the subtitle.
All numbers are under the indicated tempo. Because the suggested tempi are either physically impossible to perform and/or ridiculously anti-musical. By the way the talented-pianist-without-a-name is digitally edited.
martingauthier 7377. I have already commented on your post elsewhere, so here we go for a new round. There is nothing scientific about the formulation: «…ridiculously anti-musical». Therefore, such a argument has no value. What sounds ridiculous to some, sounds perfectly fine to others. What gives us important information on a scientific level are the old written sources and the composer’s own information. The very fast MM numbers in op 299 are the composer’s own, and therefore obviously cannot be overlooked. A number of videos here on UA-cam confirm that they are playable. I haven’t found all 40. The explanation maybe that the pianists find the musical content uninteresting. Here are some videos that show pianists at Czerny’s pace: Czerny op. 299 a tempo, Benjamin Achron. Here’s a better version of no 39: Op 299 no 39 Seon-Yong Hwang.
@@geiryvindeskeland7208 I understand why pianists find the musical content uninteresting... Still if the tempi are to be played as indicated by true mathematical meaning of the sign ' = ', it's very irresponsible from the music editors never to say a word about how extremely difficult and most likely out of reach those tempi are, even for skilled pro pianists, considering that those etudes are supposed to be made for intermediate level students. Indeed why would top level pianists waste their time with this average quality academic material? For the students, you'll find much more realistic and musical tempi - still very fast - for instance in the Bürgmuller's or Berens' studies, where 'allegro molto' will be typically a quarter note = 144 - 168 (and not 208 - 216 like in Czerny's).
The tempi indications make no sense. Many or most of these studies literally can't be played that fast by any pianist, even by the greatest accomplished virtuosos. If you apply the double beat theory (twice slower), it makes sense, but then the metronome number doesn't match the italian word indication and we can't really call it velocity. But make no mistake: if you can play these studies half the tempo with a clean articulation and technical precision, you are already a good pianist and certainly not a beginner!
martingauthier7377. I want to phrase myself in a polite manner, but I am a little bit tired of the many people who believe that one’s personal meaning and taste give the historically correct tempi. We should rely more on the old written sources + - 200 years old. martin ,quote: «The tempi indications make no sense». You are not correct, Czerny’s own MM make sense, and that’s because of the mans urge to compete. The signature «jorislejeune»: Le Pianiste was a Parisian paper on piano playing and music (1833 till 1835) and wrote negatively about Czerny, certainly about the op. 299. They complained that ‘all these studies require 800 notes per minute’, which is only true in single-beat. In the book «Beethoven» by Maynard Solomon, we read: Beethoven was concerned to maintain his preeminent position and regarded any accomplished pianist as a potential rival. In mid-1794, he wrote to Eleonore von Breuning of his «desire to embarrass» and «revenge myself on» the Viennese pianists, some of whom are my sworn enemies. The book also says that Beethoven was invited several times to private homes to compete against other pianists. Here we understand why Czerny’s quick MM numbers and Beethoven’s utterances make sense - the pianists were competitors! They competed to see who could impress the most with their virtuoso playing and demanding compositions. It was about imprssing colleagues, music journalists and the public. Czerny opus 299 in double beat tempo is so slow that it wouldn’t impress anyone. And the mention in Le Pianiste confirms that they played Czerny in single beat tempi. You are absolutely right - at double beat pace, tempo doesn’t match the Italian words for speed. «Double beat make sense», you say. Unfortunately, no they don’t, and I justify it like this: I got my first piano lesson in 1962. I have played a lot, but almost never practiced, I don’t have the patience. But when I heard Wim Winters’ op 299, no 1, I immediately realized that it can’t possibly be historically correct. After 50 minutes of practice, I reached double beat pace. Ancient sources tell of Czerny’s interest in the virtuoso. It is inconceivable tht, after 50 minutes of rehearsal, I reached the level of one of the greatest virtuosos 200 year ago, it is totally illogical, and an unforgivable disregard for the virtuoso level the pianists reached at that time. Simple logic also shows that double beat is hardly historically correct pace. It is from children and drunk people that we hear the truth. Now we are not going to drink, but hear the kids play. Here on UA-cam we find a number of videos of children, 7-12 years old, playing Chopin’s etudes much faster than the double beat pace. Chopin, the composer, was 20-22 years old when he composed the etudes. He had about 10 more years to reach a virtuoso technical level, and Wim Winters would have us to believe that Chopin played the etudes much slower than the kids! Completely illogical! martin, quote: «Many or most of these studies literally can’t be played that fast by any pianist, even by fhe greatest accomplished virtuosos». martin, I can write a list if you want. Finally, beware of Wim Winters. Sometimes he manipulates and censors. Whoever is right in their argument, does not need to manipulate and censor!
@@geiryvindeskeland7208 Yes, actually I’m very interested to hear Op.299 - all of it - performed by a REAL pianists (not a MIDI machine) at the ‘right’ tempo. Thank you!
Martin: «..all of it». I’m sorry, but I can’t. It is two complete series of opus 299, one is too slow and the other is MIDI. My son taught me to mention links in comments, but I forgot how to do it, therefore this cumbersome method, Martin, I apologize for it. As for «pianothshaveck» you will find a link at the top of the comments section, where you will see the hands and metronome, video 4:44. He plays no 1, 2 and 3. Czerny Etude op. 299 n. 4 VERY FAST!!! Czerny op 299/4 at tempo - Asiya Korepanova. Czerny Etude op 299 n.5 REAL TEMPO!!! Czerny Etude op.299 n.8 Czerny Etude op 299 No. 34 Denis Zhdanov «What if I playing czerny’s piece an IN TEMPO?» [op.299 No.39]
No.11 MUST’ve been the original inspiration for Chopin’s Op.25-11, I swear. Ditto for No.12, for Op.25-12. No. I3, in turn, was developed from Bach’s Bb major prelude from the Book 1 of the WTC. These things I never realized when I was studying this entire book literally forty years ago.
???
Absolutely not
they are both common figurative patterns not that much of a stretch for independence
Wow i love this a complete czerny 299
i do play that but slowly and i tried to do that in a speedy one and it is really impossible for me unfortunately , bravo for thais great play and interpretaion , so Magnificient ,
I've played the first few etudes from Op. 299, and they are really fun to play.
Rather mesmerizing, honestly.
What happened to no.38 in this set? It seemed to show for a split second that skipped to no.39
The absolute ultimate work out is his School of Virtuosity Op 365. You just scratch the surface after you mastered the Liszt B minor Piano Sonata !
I thought Liszt’s sonata is on another level! Is the Czerny Op. 365 harder than that? Maybe technically?
@@thepianofoundation Czerny B minor sonata is really hard !
No 17 sounds fun
not to study thats for sure
I LOVE CZERNY
The Art of Finger Dexterity Op 740 will be the next challenge follow by the near impossible School of Virtuosity Op 365..
We hope to move onto those some day! 365 is seldom performed but I know of at least a few absolute gems in there!
I love op. 299 no. 16 a LOT ❤❤❤❤❤❤❤❤
Nice choice! 😎
@@thepianofoundation 🌟☺️☺️☺️✨💎💖💖💖
I know it says velocity in the title, but I was not ready for how fast they really are!
The tempo marked in the books is even faster!
The translation from German is rather poor. It is not about velocity. It is about the art of bringing the beauty of piano sound at great speed.
You start them slower. Then speed them up.
@lindasaroucos5718
What's a good speed to start at on the metronome and what speed are these being played at?
@@kwamestamps35basically the speed you are comfortable with and then go up from there.
Who is the pianist?
This is MIDI recorded stuff. Well done but still edited digitally
@@martingauthier7377 Thank you very much.
😱
etude 13 is the only one I studied
Some others are worth checking out too!
28:12 Where is No. 26? It seems that this video skipped No. 26, so it plays No. 27, not No. 26.
Unfortunately this had to be removed from the video due to alleged copyright infringement. It’s difficult for us indie channels to challenge copyright even though we made these songs ourselves.
This is only a taste of the ultimate work out to be.
More fun than 599 and 849 nonetheless!
@@thepianofoundation No. They are equally fun for me.
@@thepianofoundation More fun if you get to the School of Virtuosity with all the rapid doubles at twice the speed required compare to one of Chopin's etude !
this clearly sounds like it is played on a MIDI, not by a real pianist. "expertly played by our talented pianist"... delete this nonsense from youtube please
Sorry if this irritated you!
coleraaaaa enricoooo
This is NOT a human pianist it's played by a midi interface and possibly acoustically recorded. As such it is bad example because a computer will have make zero difference between thumb passing passage and other necessary acrobatics for the human hand and will play everything the same giving a bad model to learn and follow. This is JUNK and the word MIDI should be in the title !
indeed this is junk, no phrasing, no breathe, no polyphonics on chords. junk midi
@@giordanopuglisi2890 They are exercises to develop finger speed, not musical compositions. Czerny never claimed to be Chopin.
i like the 37
Good choice! That one sounds like a butterfly dancing.
Which of the etude(s) do you enjoy the most? 🎹
N°39
No. 34
I like them all.
I love 7
39
What happened to No. 38🙈
colera enricooooo
설명에서 피아니스트의 이름을 찾을 수 없네요. 댓글에서는 midi로 편집했다고 하는데 Wim Winters의 주장이 역설적으로 옳다고 생각되는 증거가 되는것 같음
36:00. 8bit
C'est Czerny 100-100 , scales nothing more !
alainspit, op 299 no 34 is really good. It is a piece of music also useful at the stages.
@geiryvindeskeland7208 It’s a very beautiful piece - like when you find a rare minor piece from a predominantly major set it’s usually great.
皆さんin tempoまで頑張りましょう、腑抜けた音楽家は要りません
Just play how you feel like to! ;)
These etudes are good if you want hammer hands
I believe you can play them as musically as you possibly can!
I have played them all and they greatly improved my technique and sight reading.
@@Organintetnational Could you explain more how these exercises aid sight reading please...? Are you able to recognize some of the sections in pieces??
Too fast to enjoy the melodies 😢
there is not melody here these are scales nothing more !
Suggest you to adjust the speed to 0.5x, enjoy!
@alainspiteri502 There are many melodies to enjoy in there...but the art is to be virtuosic and musical here...
@@MJN260 there are only scales nothing else where is the melody in a scale ? mdr youtubers 😂😂😂😂😂😂😂
@alainspiteri502 Enjoy the speed and technique!
the first one is 90-91 not 108! (108 woud be impossible anyway)
@hitoall123 No, not impossible. There are several pianists who play from op 299 in Czerny’s tempo.
@@geiryvindeskeland7208 can you give an example? I will measure the tempo
PianothShaveck. You will find a link at the top of the comments section, where you will see the hands and metronome, video 4:44. He plays no. 1, 2 and 3.
When you play it at Czerny’s tempo (on an old piano) The Key of Life
Czerny Etude op 299 n. 4 «VERY FAST».
Czerny op 299/4 at tempo - Asiya Korepanova
Czerny Etude op 299 n. 5 REAL TEMPO.
Czerny Etude op 299 n.1 REAL TEMPO!
What if playing czerny’s piece an IN TEMPO? [Op. 299 No. 39]
Czerny Etude op. 299 n. 6 REAL TEMPO!
Czerny Etude op 299 n. 3 REAL TEMPO!
Czerny Etude op 299 No. 34 Denis Zhdanov
@hit… The signature «@jorislejeune» : Le Pianiste was a Parisian paper on piano playing and music (from 1833 till 1835) and wrote negatively about the op. 299. They complained that ‘all studies require 800 notes per minute’, which is only true in single-beat». Here on YT I find a number of children, some of them younger than 10 years, playing from Czerny op. 299 faster than Wim Winters’ double beat tempo. Therefore we understand that
something is wrong with the theory.
@hit… I am sorry, I should mentioned this too: Op 299 no. 34 Piano Etudes.
The Shool of Velocity is the wrong translation.
What is the correct translation then?
Curious to know. What’s the correct one?
@@thepianofoundation Mad velocity.
It is not wrong.
The original full German title is Die Schule der Gelaufigkeit. 40 Uebungstucke um die Schnelligkeit der Finger zu entwickeln.
This translates as The School of Fluency. 40 Exercises to develop the speed of the finger.
The early German edition of 1840 prints the full French title underneath the German: Etude de la vélocité, 40 Exercises calculés a développer l'agilité des doigts.
Translation: Study of Velocity. 40 Exercises calculated to develop the agility of the fingers.
The French title is not wrong. It simply puts 'velocity/speed' into the main title and 'agility/fluency' into the subtitle.
The English editions translated the French title, but omitted the subtitle.
@@binyoung7297 The School of Speed and Articulation.
Who is the pianist? Computer???
Bu qədər sürət lazım deyil məncə.Melodiyanın gözəlliyi itir
Don't think l could play these.
This is not in tempo. No. 1 and 2 for example are at 90 for the half note
All numbers are under the indicated tempo. Because the suggested tempi are either physically impossible to perform and/or ridiculously anti-musical.
By the way the talented-pianist-without-a-name is digitally edited.
martingauthier 7377. I have already commented on your post elsewhere, so here we go for a new round. There is nothing scientific about the formulation: «…ridiculously anti-musical». Therefore, such a argument has no value. What sounds ridiculous to some, sounds perfectly fine to others. What gives us important information on a scientific level are the old written sources and the composer’s own information. The very fast MM numbers in op 299 are the composer’s own, and therefore obviously cannot be overlooked. A number of videos here on UA-cam confirm that they are playable. I haven’t found all 40. The explanation maybe that the pianists find the musical content uninteresting.
Here are some videos that show pianists at Czerny’s pace:
Czerny op. 299 a tempo, Benjamin Achron.
Here’s a better version of no 39:
Op 299 no 39 Seon-Yong Hwang.
@@geiryvindeskeland7208 I understand why pianists find the musical content uninteresting...
Still if the tempi are to be played as indicated by true mathematical meaning of the sign ' = ', it's very irresponsible from the music editors never to say a word about how extremely difficult and most likely out of reach those tempi are, even for skilled pro pianists, considering that those etudes are supposed to be made for intermediate level students. Indeed why would top level pianists waste their time with this average quality academic material?
For the students, you'll find much more realistic and musical tempi - still very fast - for instance in the Bürgmuller's or Berens' studies, where 'allegro molto' will be typically a quarter note = 144 - 168 (and not 208 - 216 like in Czerny's).
The tempi indications make no sense. Many or most of these studies literally can't be played that fast by any pianist, even by the greatest accomplished virtuosos.
If you apply the double beat theory (twice slower), it makes sense, but then the metronome number doesn't match the italian word indication and we can't really call it velocity.
But make no mistake: if you can play these studies half the tempo with a clean articulation and technical precision, you are already a good pianist and certainly not a beginner!
martingauthier7377. I want to phrase myself in a polite manner, but I am a little bit tired of the many people who believe that one’s personal meaning and taste give the historically correct tempi. We should rely more on the old written sources + - 200 years old.
martin ,quote: «The tempi indications make no sense». You are not correct, Czerny’s own MM make sense, and that’s because of the mans urge to compete.
The signature «jorislejeune»: Le Pianiste was a Parisian paper on piano playing and music (1833 till 1835) and wrote negatively about Czerny, certainly about the op. 299. They complained that ‘all these studies require 800 notes per minute’, which is only true in single-beat.
In the book «Beethoven» by Maynard Solomon, we read: Beethoven was concerned to maintain his preeminent position and regarded any accomplished pianist as a potential rival. In mid-1794, he wrote to Eleonore von Breuning of his «desire to embarrass» and «revenge myself on» the Viennese pianists, some of whom are my sworn enemies.
The book also says that Beethoven was invited several times to private homes to compete against other pianists.
Here we understand why Czerny’s quick MM numbers and Beethoven’s utterances make sense - the pianists were competitors! They competed to see who could impress the most with their virtuoso playing and demanding compositions. It was about imprssing colleagues, music journalists and the public.
Czerny opus 299 in double beat tempo is so slow that it wouldn’t impress anyone. And the mention in Le Pianiste confirms that they played Czerny in single beat tempi.
You are absolutely right - at double beat pace, tempo doesn’t match the Italian words for speed. «Double beat make sense», you say. Unfortunately, no they don’t, and I justify it like this: I got my first piano lesson in 1962. I have played a lot, but almost never practiced, I don’t have the patience. But when I heard Wim Winters’ op 299, no 1, I immediately realized that it can’t possibly be historically correct. After 50 minutes of practice, I reached double beat pace. Ancient sources tell of Czerny’s interest in the virtuoso. It is inconceivable tht, after 50 minutes of rehearsal, I reached the level of one of the greatest virtuosos 200 year ago, it is totally illogical, and an unforgivable disregard for the virtuoso level the pianists reached at that time.
Simple logic also shows that double beat is hardly historically correct pace. It is from children and drunk people that we hear the truth. Now we are not going to drink, but hear the kids play. Here on UA-cam we find a number of videos of children, 7-12 years old, playing Chopin’s etudes much faster than the double beat pace. Chopin, the composer, was 20-22 years old when he composed the etudes. He had about 10 more years to reach a virtuoso technical level, and Wim Winters would have us to believe that Chopin played the etudes much slower than the kids! Completely illogical!
martin, quote: «Many or most of these studies literally can’t be played that fast by any pianist, even by fhe greatest accomplished virtuosos».
martin, I can write a list if you want.
Finally, beware of Wim Winters. Sometimes he manipulates and censors. Whoever is right in their argument, does not need to manipulate and censor!
@@geiryvindeskeland7208 Yes, actually I’m very interested to hear Op.299 - all of it - performed by a REAL pianists (not a MIDI machine) at the ‘right’ tempo. Thank you!
Martin: «..all of it». I’m sorry, but I can’t. It is two complete series of opus 299, one is too slow and the other is MIDI. My son taught me to mention links in comments, but I forgot how to do it, therefore this cumbersome method, Martin, I apologize for it.
As for «pianothshaveck» you will find a link at the top of the comments section, where you will see the hands and metronome, video 4:44. He plays no 1, 2 and 3.
Czerny Etude op. 299 n. 4 VERY FAST!!!
Czerny op 299/4 at tempo - Asiya Korepanova.
Czerny Etude op 299 n.5 REAL TEMPO!!!
Czerny Etude op.299 n.8
Czerny Etude op 299 No. 34 Denis Zhdanov
«What if I playing czerny’s piece an IN TEMPO?» [op.299 No.39]
Ups, I forgot this one:
«When you play it at Czerny’s tempo, Minkyu Kim
Czerny op 299 n 8 is played by «Piano Etudes»