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Form #0567

-^ -^ ^ ^ ^ ^ ^ ^^ ^*- ^ ^ ^ ^ ^ ^ ^ ^^^ ^ ^ ^ ^ ^ ^.Sta

Cramer. 50 STUDIES--Bk. 1 Piano

f^ SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

Vol. 828

u

J.B.CRAMERFifty Studies

For the Piano

Book I

(BULOW)

1.40

%^'>-'>-^^^'>.\^'>-'^^\^^'>^'>-^^^

SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

Jean Baptiste Cramer

FiftySelected Piano-Studies

Systematically Arranged, Fingering and

Expression-Marks Critically Revised,and Provided with Instructive Notes by

DR. HANS VON BiJLOW

Translations by

ALBERT R. PARSONS and B. BOEKELMAN

Newly Revised byDR. THEODORE BAKER

IN FOUR BOOKS(Also In One Book Complete)

Book I (Nos. 1-12) Library Vol. 828

Book II (Nos. 13-25) - Library Vol. 829

Book III (Nos. 26-38) Library Vol. 830

Book IV (Nos. 39-50) Library VoL 831

(Complete) Library Vol. 827

G. SCHIRMER, INC.New York

Copyright, 1899, by G. Schirmer, Inc.Copyrigtit renewal assigned, 1927, to G. Sctiirmer, Inc.

Printed In h U. S. A.

c0'^5al. OB^U

PREFACE

To mention in detail, and with a mere repetition ofencomiums, what is universally recognized and has oftenbeen said concerning the inestimable value and enduringimportance of J. B. Cramer's pianoforte-studies, as acultural means for the pianist's execution and delivery,(a means not only unexcelled, but alsowith the excep-tion of Muzio dementi's "Gradus ad Parnassum ", forwhich they serve as the most suitable preparationoneas yet but approximately equalled by any other collectionof studies.) can not, of course, be the purpose of theselines. If Fetis, the Romanic musical authority of thepresent, designates them as

" eminemment classiques",and if of his German colleagues, Franz Brendel and C. F.Weitzmann, the former, in his history of music, termsthem "a foundation marking a new epoch for all solidstudy

"

;and the latter, in his history of pianoforte-play-

ing,* [Engl, translation, New York, 1893], numbers themamong the classics of pianoforte-literature in respectalike to contents and form, these consonant opinions ofthe most renowned aestheticians and theorists really butstate a fact, the great consequence of which speaks to usmost loudly in the universal dissemination and popularityof the work here newly issued to the public in a specifi-cally instructive edition. Perhaps it will not be super-fluous to say a few words in justification of the newedition (or elaboration), although only through carefulinspection of the work itself will the purpose of theeditor become perfectly clear. The need of such aninstructive edition has been often felt already. LouisBerger (born 1777, and dementi's pupil from 1804-10)deemed it necessary to edit the first twelve studies withadditional directions for the fingering: the entire workwas afterward similarly edited by Julius Knorr ; while,quite recently, Mr. Louis Kohler has issued, as the open-ing book of his "Classical High School for Pianists", aselection of thirty studies, with glosses in part highlyuseful. It is idle critically to review the editions named,since the new one here submitted originated solely intheir criticism. The old need has simply remained unsat-isfied, and the attentive observer of the doings of thepianoforte-playing world can not escape the perceptionof how seldom it isin proportion to their universaldisseminationthat the cultural material proffered inCramer's studies is exhaustively utilized; while theirwell-considered and methodic emplovment must have forits result the gain of a firm foundation for virtuoso-dis-cipline in the good sense, nay, the gain of an alreadvcomparatively developed degree of mechanical and intel-lectual ripeness on the part of the player. But with whatwant of thoroughness, with what unthinking routineboth pupils and teachers proceed through them! Eitherthe instruction consists, all told, in more or less pedan-tically "ploughing through

"

the first book, and perhapsthe second also, which naturally is then, as a rule, morequickly finished; or else the whole number, eighty-four,are really

in turnhurriedly quitted ; on accomplishingwhich, in nine cases out of ten, the but slight positiveresult appears, that the player who has reached No. 84.on being suddenly again confronted with No. i, showshimself incapable of striking the first arpeggioed C major

* A copy of which, with iti.inuscript revisions .mil additinns, has beenintrusted by tiie author to the- present translator for the preparation of anEnglish version.

tm 1

triad in an artistically correct manner, not to mentionother surprises for the examiner. Now, the practicalill-success so frequently attendant upon the study olCramer's Etudes is owing to c.iuses which it is the aimof this edition to obviate. First among these is the non-ohseri'ance of a svstematic suecession. Such an one wasnot, at least consistently, carried out by the author.Moreover, in the English edition, the succession of thenumbers differs from that in the German. The first-named edition, which lay before us in our work, and,indeed, as represented by a revisional copy provided withcorrections in Cramer's own handwriting (this copy,belonging to Mr. Spi'tzweg, at that time at the head ofthe publishing house of AibI, served as the standard fordetermining exactly all signs of time and expression), alsocontains the sixteen studies supplement, illy issued inVienna (surreptitiously in Hamburg), which have beencomparatively but little disseminated, and the chief pur-pose of which, evidently, was only to make up theceremonial number of 100. Accordingly, their non-con-sideration in the present edition w.is not prompted solelyby their character of a private domain. For our attemptto remedy this evil, no claim is l.iid to absolute approval,since individual considerations will always play a certainrole in instruction, if the teacher's conception of his taskbe not bureaucratic. A second chief cause of the qualita-tive resultlessness of the study of Cramer's Etudes is tobe found in their over-great quantity. The same consid-eration in the case of dementis "Gradus ad Parnassum"has recently induced the Court-pianist to the King ofPrussia, Mr. Carl Tausig, to edit an anthology of thatwork, accompanied with valuable directions for theircorrect practice, which is published in Berlin by Bahn(Tr.iutwein's), and the adoption of which, on the part ofall intelligent pianoforte-teachers, is to be recommended.With correct tact, Mr. Tausig has eliminated the intrin-sically very valuable pieces in the severe contrapuntalstyle; for the pianoforte-fugues and canons of Clementi,far from offering a fit means of preparation for the Well-tempered Clavichord of Bach, are more likely to hinderthe player by leading to bad habits. For

"

Bach-playing''demands preliminary studies which must be sought onlyin other compositions by that master himselfwith,perhaps, the anticipation of pieces by Handel.* In prepar-ing this edition of Cramer, all pieces for practice in whichno perfectly definite mechanical end was pursued have beensimilarly culled and disposed of. Perhaps we may even

* As there was once, in Florence and at other Italian universities, aDante faculty (Boccaccio was tlie first occupant of this chair of instruc-tion), the members of which confined their philological labors simply tothe enigma of this mighty sphinx, so tliere might be in place, in fiighschools of music, a similar specialization of the study of the German intel-lectual giant in tones, Bach, who is comparable to a Dante only. Toplay Bach beautifully and with finish is a task wliichthe necessarycerebral conditions abstracted is only to be demanded from those pian-ists who have attained complete mastery over the material, and who also,for example, no longer brokenly stumble through Beethoven's last piano-forte-son.itas. Whither attempts to assimilate the works of Bach from thestandpoint of the pianoforte-chair specifically tend, is most alaiminglyshown by Czernv's celebrated edition of them, the transitory merit 0/which we would not question, but against an uncritical use of which aneinphatic warning must be given in the interest of a true understanding ofBach. Moreover, with the above remark, it is not intended to say thatthe introduction to the playing of Bach (preludes and inventions) maynot, according to individual data, begin even simultaneously with th*study of Cramer's Etudes.

.0^-1

lodJEW YORK PtJBUta LIBIART FOR THBLPEafCBBam* ABni

40 LINCOLN- CENJSJT'T^^^^^""NEW YORK. NT KmS^

be reproached for not having proceeded radically enough,and for having given too much space to repented repre-sentations of tliat which is hofnogeneous. To this it mightbe replied, that practical experience demonstrates the ad-vantage of such readings. Precisely in connection withthe necessity of acquiring by perseverance any specialkind of mechanical expertness, the charm of a certainvariety in homogeneity tends to refresh and stimulate,on the one hand, and on the other to promote and deter-mine, and also, occasionally, as a counter-experiment, toinstruct. After several homogeneous exercises only, theplayer should always revert, in recapitulation, to the firstof them. Respecting a few other studies, of which themechanical end is perhaps still more systematically devel-oped in dementi's Graduscoupled, to be sure, withgreater difficulties

it may be remarked, that in a regu-larly graded succession of those collections of studieswhich are to be employed for complete cultivation inpianoforte-plaving. J. 6. Cramer is the forerunner ofClementi. In this connection, perhaps, it may not beunwelcome to pianoforte-teachers to see indicated thecourse of mechanical study which the undersigned hasfound approved in his practice as a teacher. The coursein question comprises all the studies, from those of thebeginner to those of the virtuoso.

After the first rudiments have been mastered, for whichpurpose the first part of the pianoforte-method of Lf.bert-Stark is most to be recommended as. to the best of ourknowledge, the most substantial help, the following arein place:

I. a. The studies of Ai.OYS Schmitt, Op. i6, togetherwith the " Exercices Freparatoires ",always to be prac-tised in all twelve keyswhich form the introductionto the first book. It is worthy of mention that FhlixMendelssohn-Barthoi DY, who was an eminent master aspianist also, laid with this work the foundation of hisclassical technique.

b. In contrast to the relative dryness of Schmitt, a col-lateral use of Stephen Heller, Op. 43.

II. a. J. B. Cramers studies.b. St. Heller: Op. 46 and 47.c. C. Czerny: Daily Exercises; likewise his collection

of studies, entitled the "Method of Legato and Staccato"(Die Schule des Legato und Staccato), which, strangelyenough, has not hitherto received that notice which itmerits.

III. a. Clementi; "Gradus ad Parnassum"

(selectionand elaboration by C. Tausig).

b. Moscheles: Op. 70, 24 studies; a work morewidely disseminated in North than in South Germany,which unconditionally deserves the predicate "classic ".

IV. a. Henselt: Selected studies from Op. 2 and sb. Together with, and as preparatory to these, Haber-

bier:"Etudes-Poesies"; a kind of continuation of St.

Heller.c. Selected pieces by Moscheles: Ch.iracteristic stud-

ies (Charakteristische Studien). Op. qs-V. Chopin: Op. 10 and 2s, with which may be asso-

ciated the study of the single Preludes (of a specialmechanical tendency) from his Op. 28.

VI. Liszt: Six Etudes after Paganini; three Concert-Etudes; twelve grand Etudes, "d'execution transcen-dante."

VII. a. Rubinstein: Selected Etudes and preludes.b. V. C. Ai.KAN : Selections from his twelve grand

Etudes; for the most part more difficult than any ofthe aforenamed.

Simultaneously with entering upon stage 111., TheodorKullak's Method of Octaves (in three parts) should beattacked and prosecuted without haste, but also withoutinterruption. This extremely meritorious special workis, in our opinion, irreplaceable, and it most justly claims

the frequently misused title, "indispensable du pinniste".To refer here to other specialties of a subordinate nature,for purely mechanical ends, would extend this preface toofar.

Finally, a third circumstance might be mentioned injustification of our instructive edition, and, indeed, theone which seems to us weightiest of all. It relates to thedirections for the application of the fingers, which, beingdoled out by the author with a sparingness only pro-portionate to their want of consistency, were in needalike of augmentation and alteration, in'order to help theperformer to attain the purposed mechanical aim. inorder to prevent misinterpretation, we will elucidatemore particularly this apparently irreverent reproachagainst J. B. Cramer. His labors' fell on the boundary-line between the earlier and later periods of pianoforte-playing, of which the latter, keeping pace with theincreasing perfection of the instrument, and the enhanceddemands resulting from it upon the performer's powersof execution, has, in course of time, arrived at a systemof fingering in many respects diametrically opposed tothe former. As the chief mechanical difficulty in piano-forte-playing, we now lay stress upon the unevenness,resulting from the local relations of black and white keys,of the field forming the scene of action for the performer'sfingers. Our aim, therefore, is chiefly directed to render-ing the fingers independent of that unevenness, and, bymeans of protracted gymnastic exercise, to enable them tomove about on the black keys in a manner as light, free,secure, and distinct as when on white keys, and withoutstumbling in any combination whatsoever of white andblack. According to the perhaps somewhat venturesomeopinion of the editor, that is the best fingering whichpermits the performer, without mechanical preparation,and without previously taking pains to deliberate, totranspose a given pianoforte-piece to any key he maychoose; a modern virtuoso of the genuine calibre mustbe able to perform Beethoven's Op. 57, for example, asconveniently in Fit minor as in F minor. In such a case,the construction of a suitable fingering, which must bebased exclusively upon a correct rendering of the musicalphrasewithout respect either to the relations of blackand white keys, or to those of longer and shorter fingersdemands, of course, the overthrow of all the rules of theold method. This old method appears, after all, to haveset out with the chief purpose of circumventing all diffi-culties endangering the preservation of^a quiet position ofthe hand, through varying relations of the white andblack keys which come into play ; just as, among otherthings, it ignored the necessity of different applications ofthe fingers in the case of different modes of^ touch (/. e.,between letiato, staccato, etc.); and just as it rejectedthat right of the thumb to " free migration ", which is in-dispensable in polyphonic playing and for avoiding per-plexities in transposition ; declaring, as a matter of course,him to be the best pianoforte-composer whose inspirationwas continually guided by the external image of thetwelve half-steps of the the octave on the key-board, asseven broad and fl.it keys, together with five narrow andelevated ones; judged by which criterion, Clementi'spianoforte-fugues might indeed have claimed an uncondi-tional superiority over those of a J. S. Bach.Now, J. B. Cramer (born 1771, in Mannheim; died

i8s8, near London) comprehended in a far greater degreethan did his predecessor, representing a more importantartistic individuality, Muzio Clementi (born 17^2, atRome; died 1852, in Engl.ind)whose instruction, more-over, he enjoyed only in 1783-4. at Vienna, therefore asa boythe necessity of breaking with that method; andin his studies are to be found frequent traces of reforma-tory directions for the lingeringespecially, too, in respectto the old limitation of the activity of the thumb, just mea-

tioned. But as if, frightened by the boldness of his attacks,he feared the result of consistently carrying them out, andfinally yielded to the tyranny of earlier practical usage, heforthwith and frequently shows relapses into the old ways.Now. in preparing this edition, the editor deemed him-self obliged to suppress the author who looked back, infavor of the one showing intuitions of the future; still, hehas never gone so far as to force another lingering uponthose pieces in which the invention of the pianofortefigures appears essentially induced by the practices of theold method; just as, according to his principles, theHummel concertos (not, on the other hand, those ofMozartwe mean in the original, not their antiquating" Hummel "-ization [Ver-" hummel "-ung] ) should beplayed with Hummel's own fingeringas sufficiently setforth in his method for the pianofortewithout any mod-ernizing facilitation or aggravation whatsoever.The instructive remarks appended to each study spare

us the trouble of generalizing that in our work which, inits special place, in connection with practical use, willbecome self-evident. Still, we desire to mention, inpassing, that, in point of the dynamic signs of delivery, wehave thought it best to carry out with more exactness,and in detail, the intentions rather sketchily made knownby the author. Similar revision seemed to us neces-sary in respect to the legijlo-s\urs and stJi'rato-pomXs.Special care has been taken to display the text in a form asimmediately intelligible as possible, following in this themodern principle of writing upon the upper staff allnotes assigned to the right hand for performance,and all given to the left hand upon the lower staff;further, in parallel movements of two parts, of dis-pensing with the luxury of double "slurring"; etc.

With reference to the metronomic signs, which, as haibeen said already, are copied exactly from the origmal,we can not conceal that to us they appear excessivelyfast in the majority of casesnot merely in respect to thetime to be taken in practising them, but also to that ap-propriate to their delivery simply as pieces of music. Itis possible that, as happened with Beethoven, and morerecently with Schumann (who is said to have metrono-mized after a defective Maelzel during an entire creativeperiod), the relation of the compass of J. B. Cramer toour normal pyramid may have resembled that of a Fah-renheit to a Reaumur.

Concerning the life and labors of the composer, infor-mation is to be found in Fetis: Universal Biography(Biographic Universelle), first edition, 1866 [2nd ed..1889]; Gassners Universal Encyclopedia of Music (Uni-versal-Lexikon der Tonkunst), etc. The History ofPianoforte-playing (Geschichte des Klavierspiels), byC. F. Weitzmann, was referred to at the outset; wefully subscribe to what is there said on the relation ofCramer to his predecessors and successors.

Unfortunately, we have not been able, despite repeatedendeavors, to ascertain with exactness any thing con-cerning the dates of the successive publication of Cramer'sstudies, to establish which would be of more than merehistoric interest. The second book appeared with Breit-kopfand Hartel in 1810 (when in bngland .?) ; and in theadvertisement referring to it in the General Musical Gazette(Allgem. musikal. Zeitung), the first book is mentioned ashaving already passed through five editions, and as beingone of the most excellent collections of studies that hadappeared in the last "quinquennium" (1805-1810).

, Hans von BOlow.Munich, May, 1868.

CoPVRIGHr, G. SCHIRMEK, 1875.

Fifty Selected Pianoforte -Studiesbv

J. B. Cramer.

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(^1.) Each hand should first practise its part alone, inslow tempo and with a uniform degree of loudness.Then, by way of a test, try to play in faster tempo andan even ///^^ir''>-/'/ff instead of the previous /?;/'/ft If the

slightest indistinctness should be detected, resume the firstmethod of practice. Both hands must not play togetheruntil the mechanical difficulties ,ire overcome. The studyof execution with crexrendits and dlminiienddSj etc., mustthen be worked out along the same lines; i. e., before thehands play together, each must have learned to performits part alone with strict observance of the dynamicmarks of expression. These rules apply, of course, tothe study of all these Etudes.(2.) The teacher must insist upon a xysti'tnntir arpeg-giatioo, wherever this figure occurs; and discourage withequal strictness the habit of breaking the chords where noarpeggio is explicitly marked. The slightestlatitudeallowed in thismatter, at the beginning of instruction, will work irrepa-

I frable injury.

Execute thefirst arpegyio'd

chordas follows:

the second!

measure 10

thus:

The difference in the execution of these two arpeggio'dchords depends, in part, on their different time -value,and in part on the different manner in which the chord -tones combine. The necessity for the sticcessiip arpeggioin measure 1, is evident from the lack of fullness whichwould result from a mode of execution similar to that inmeasure 10; because, in the former case, the right-handpart would merely double the left-hand part at an inter-val of 3 octaves.

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1. To derive benefit from practisinsf this number, it is ofprime importance to firmly set and retain the outer fin-gers on their keys.

Z. The movement of the middle fingers in both hands,

while even and light, must ahvays bring out the naturalmelodic expression of the figure: i.e.,a slight cresceiul"in ascending, and a slight diminuendo in descending.

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^^^^^mm^'1.) A more practir.il distribution of the fitrurcs between

the hands, in measures 14-17 and '-^ 5, appeared necessaryboth for rhythmic.il and purely mechanical reasons. Amonj^the latter is the rule for

,i\oidin^^ the use of thi- thumb when

crossint;" the hands; for this draws the entire palm of theh.ind into play, and thus impedes the ease of movement

in both hands.

(3.) The fingering given for measures 10 and 11, is

applicable to all similar gr.ided progressions; the more

black kevs involved, the less will the thumb be used, and

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A transposition of this Etudt- into G minor and F minor,would give a still better test of its practical utilityjbesides,practice in transposing cannot be too early recommended

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as an advantageous influence on the pupils ear and gen-eral musical development. Compare the Preface.

1764

13

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(1) The editor's experience in teachinfrh;is convinced himboth of the comparative uselessness of this Etude in the orig:-inal key of D major, and of its utility as transposed into DUIn the orio-inal key, a jfood piano-fing-erinf^-for small hands,in uninterrupted !e

14

Moderate con espressione. (J = i3a.)

I7b4

15

(20)

(1.) This Etude is to be considered, first- of all, as astudy in velocit}- for the left hand . The teacher should takecare, at the same time, to stimulate a feeling for the lead-

ing: of the bass amid the endeavors after a smooth and eventouch. This feeling: should be expressed by an accentua-tion (though not too pointed) of tones marking succes-sive modulations. Of course, such accents must not be un-necessarily multiplied; in measures 1 and 2, for instance, arepeated accent on this lowest note is not allowable. Inmeasure 5, on the other hand, besides the first and thirdbeats, the G and the At; (on the second and fourth half-beats respectively) are to be slightly marked, and in mea-sures 6 and 7 each beat; whereas, in meas. 23 and 31, thesecond beat, on account of the unchanging harmony, ad-

mits of no accent.

(2.) Separate practice by the right hand will prove noless beneficial for an intelligent and elegant execution.The apparently complicated fingering must be strictly ob-served; it was derived from a consideration of the variousmodes of touch, and of the correct "declamation" of themelodic phrase.(s.jThe turn in meas. 29 may be played in two ways; ei-

ther: (hl'F J'JSjJ.Jf or: i_^^U E^ ; the editor, however, pre-fers the latter, because it more strictly maintains the rhyth-mical integrity of the melodic succession (syncopation ofthe second beat); neither can the dissonance of aI> against fbass G (second half of second beat) be considered offen&i\e ,

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(1.) To derive full profit from the exercises for the inde-

pendence of the fourth and fifth fing'erSjWe recommendthat llie number of movements in each measure should at

least be doubled, thus:

(2.) Hands of small stretching' capacity will find onlymeasures 1, 4, 12 and 28 of special difficulty. Admissiblefacilitations are left to the teacher's judgment in individu-1764

al cases.

(3.) While pursuing the technical aims of this Etude, do not

neglect the study of its classic form and its melodic and

modulatory content.

(4.) Transpositions of this Etude into Ct! minor and Bminor will prove very beneficial, both technically and as

exercises in the practical utilization of elementary ac-

quirements in harmony.

20

Allej;;ro iion troppo. Jr7;>)

10,(51.)

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1. A certain continuity being both practical and necessaryin every special study, the editor has placed the present andthe next-following trill-exercise directly after the foregoingexercise for the fourth and fifth fingers. It will be seen atonce, that a new feature, of technical development appearsin the present Etude: the weaker fingers are combinedwith the stronger in a uniformly light and agile touch. More-over, the fingers must be trained to contract swiftly aftersudden extension; while the hand is to be so habituated to

quiet plasticity of motion, that the finger-movements appar-ently leave it quite at rest.

2. The editor lays particular stress on an exact finger-ing for the left hand. His experience with the power of thelaw of inertia has taught him, that a fingering like the

usual convenient one:

the following audible (or rather inaudible) result:

By such an amateurish execution, in polyphonic pieces, arccaused the most absurd misconceptions with regard to the

leading of the parts. Passages in thirds aS; for example,those in the Presto of the Beethoven (.ft minor sonata op.27,N9 Z, meas.47, 48,53 and 54, which have to be playedjPw -//w, besides require similar fingerings for their correct

execution: more especially, because the deeper key-fall ofour modern pianos renders it far mor

22

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(1.) Instead of four trill-notes to each eig'hth-note, as in

the original, the editor deemed it better to require six.(2.) The beginning of the trill on the higher auxiliary, is

justified by the importance of the trills in this number; bya proper regard for the smoothness of the after-beat; and

by the suspension-like charm gained thereby; while noharmonic indistinctness is anywhere induced.

("3.") Exceptions are found in measures 25, 27, 35 and 37,in the left hand, where a beginning on the auxiliarywould obscure the harmony in its most essential ele -

ment the bass.(4.) In measures 13-15 a critical revision of the left-hand part appeared indispensable, it being of incompre -

hensible meagreness in the original.

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i ScHiRMER's Library kof Musical Classics

PIANO METHODS, STUDIES, AND EXERCISESS E R I K S TWO

J

IAXAATAAXAAAAAAAAAA

DORING, C. H.L. 651 Op. 24. Exercises and Studies in Staccato Oc-

tave-Playing.L. 1035 Op. 25. 8 Octave Studies.

DUVERNOY, J. B.L. 316 Op. 120. The School of Mechanism. 15 Studies

preparatory to Czerny's "School ofVelocity." (Klauser). Complete.

L. 1292.Op. 120. The same: Bk. I.

L. 50 Op. 176. Ecole Primaire. 25 Elementary Studies.

GERMER, H.L. 1279

Gl RLITT, C.L. 798 Op. 50.L. 801 Op. 51.

L. 534 Op. 82.

Rhythmical Problems.

L. 535L. 536L. 807L. 539L. 323

Op. 82.

Op. 83.

Op. 85.Op. 100.

Op. 107.

L. 324 Op. 117.L. 339 Op. 130.L. 206 Op. 131.I,. .326 Op. 141.

24 Easy Melodious Studies.24 Melodious Studies of Medium

Difficulty.The First Steps of the Young Pianist.

Bk. I.The same: Bk. II.The Easiest Studies in Velocity.24 Studies on Scales and .\rpeggios.24 Octave Studies.Buds and Blossoms. 12 Melodious

Studies.The First Lessons.35 Easy Studies without Octaves.24 Melodious and Progressive Studies.School of Velocity. 24 Short Studies for

Beginners.

H.\BERBIER, E.L. 191 Op. 53.

Op. 59.

HANDROCK, J.L. 299

HANON, C. L.I.. 925

Etudes-Poesies. (Ruthardt).

Mechanical Studies.

I.. 1071L. 1072I.. 1073I,. 1081

HELLER, S.L. 179 Op. 16.

L. 180L. 176L. 1117I,. 177L. 1120L. 178

Op. 16.

Op. 45.Op. 45.

Op. 46.

Op. 46.

Op. 47.

L. 1123 Op. 47.L. 130 Op. 81.L. 748 Op. 119,L. 766 Op. 125.

L. 24

The Virtuoso Pianist in 60 Exercises.Complete.

The same: Bk. I.The same: Bk. II.The .same: Bk. III.The same: sp. Complete.

The Art of Phrasing. 26 MelodiousStudies. Bk. I.

The same: Bk. II.25 Melodious Studies. Complete.The same: Bk. I.30 Progressive Studies. Complete.The same: Bk. I.25 Studies for Rhythm and Expression.Complete.

The same: Bk. I.24 Preludes..32 Preludes. (Oestcrle).24 Studies for Rhythm and Expression.

(Scharfenberg).50 Selected Studies from Op. 45, 46, 47.

(Oesterle).

G. SCHIRMER, INC,

HENSELT, A.L. 44 Op. 2.

HERZ, H.L. 170L. 1083

12 ("haracteristic Concert-Studies.(Jonas).

Scales and Exercises. (Vogrich).The same: sp. e.

JENSEN, A.L. 763 Op. 32. 25 Etudes. Bk. I.L. 764 Op. 32. The same: Bk. II.L. 765 Op. 32. The same: Bk. III.

KESSLER, J. C.L. 1416 Op. 20. 15 Selected Studies. (Deis).

KOHLER, L.L. 317 Op. 50.L. 543 Op. 60.

L. 318L. 425L. 196L. 480L. 321

Op. 151.Op. 157.

Op. 163.Op. 190.Op. 242.

L. 1082 Op. 249.L. 9.35 Op. 300.L. 936 Op. 300.

KRAUSE, A.L. 553 Op. 2.

KUHNER, C.L. 481

L. 482L. 483

KULLAK, T.L. 475 Op. 48.

L. 476 Op. 48.

KUNZ, K. M.L. 939 Op. 14.

First Studies. (Klauser).20 Studies in Continuous Scale-and-Chord Passages.

12 Easiest Studies.12 Easy Studies. (Klauser).16 Elementary Studies.The Very Easiest Studies.Short School of Velocity without

Octaves.Metodo Practico. sp. e. Bk. I.Practical Method. (Oesterle). Bk. I.The same: Bk. II.

10 Trill Studies.

School of Etudes. Bk. I: Lower Elemen-tary Grade.

The same: Bk. II. Elementary Grade.The same: Bk. III. Lower Medium Grade.

The School of Octave-Playing. Bk. I:Preliminary School.

The same: Bk. II: 7 Octave Studies.

200 Short Two-Part Canons. For theBeginner.

LE CARPENTIER, A.L. 1133 A Piano Method for Children, sp. e.

LE COUPPEY, F.L. 4.30 Op. 17. The Alphabet. 25 Very Easy Studies.

(Scharfenberg).L. 67 Op. 20. L'Agilite. 25 Progressive Studies for

Mechanism and Light Touch.L. 63 Op. ?6. 15 Preparatory Studies to Czerny's

"School of Velocity".

LEMOINE, H.L. 175 Op. 37. Etudes Enfantines. (Scharfenberg).

LISZT, F.L. 8.35

L. 788

6 Grand Etudes after N. Paganini.(Galileo).

12 Etudes d'execution transcendante.(Gallico).

NEW YORK3^y-'^y^y^y^y^y^'>^^^'^^'>^^^

DiaiON COPYRIOHT. IS*. VT CHINMfH MC

S c H I RME R'S Libraryof Musical Classics

PIANO METHODS, STUDIES, AND EXERCISESSERIES ONE

J

A

AAAAAAAAAAAAA

BERENS, H.L. 1070 Op. 61.

L. 504 Op. 70.

L. 508 Op. 79.L. 526 Op. 88.

L.1031 Op. 89.

BERTINI, H.L. 137 Op. 29.

L. 138 Op. 32.

L. 136 Op. 100.L. 758 Op. 101.L. 795

L. 691 Op. 166.L. 1588

BIEIIL, A.L. 530 Op. 30.L. 497 Op. 44.

BRAHMS, J.L. 1600

BRAUER, F.L. 494 Op. 15.

BURGMULLER,L. 500 Op. 100.

School of Velocity. 40 Studies. Complete.The Same. L. 259, Bk. I; L. 260, Bk. II;

L. 262. Bk. III.50 Pieces without Octaves. For Begin-

ners.

20 ChildrenStudies without Octaves.The School of Scales, Chords, and Em-

bellishments. 28 Studies.Training of the Left Hand. 40 Exercisesand 25 Studies.

24 Studies. Preparatory to the CramerStudies (Vogrich-Buonamici).

24 Studies. A sequel to Op. 29. (Vogrich-Buonamici).

25 Easy Studies. (Vogrich-Buonamici).24 Melodious Pieces.50 Selected Studies from Op. 100, 29, and

32. (Germer).25 Primary Etudes. (Osterle).50 Selected Studies from Op. 29, 32, 100,

134 (Buonamici-Cornell). Bk. I;L. 1589, Bk. II. sp. e.

The Elements of Piano-Playing.25 Easy and Progressive Studies. With

special reference to the left hand.Bk. I; L.498, Bk. II.

51 Exercises.

12 Studies for Development of Velocity.F.

25 Easy and Progressive Studies. (Oes-terle). Complete.

The Same. L. 977, Bk. I; L. 978, Bk. II.L. 755 Op. 105. 12 Brilliant and Melodious Studies. (Oes-

terle.

18 Characteristic Studies (Oesterle),L. 752 Op. 109.

CHOPIN, F.L. 1551L 33

CLEMENTI, M.L.167

L.780

L.1112L.376

CONCONE, G.L. 139 Op. 24.L.141 Op. 25.

L. 140 Op. 30.

L.1374 Op. 31.L. 226 Op. 37.

L.1030 Op. 44.L.25

Etudes (Mikuli).Etudes (Friedheim.)

Gradus ad Parnassum. 100 Exercises.(Vogrich). Bk. I.; L. 168, Bk. II.

Gradus ad Parnassum. 29 Selected Stud-ies. (Tausig).

The Same. sp. f. e.Preludes and Exercises in all the Majorand Minor Keys. (Vogrich).

25 Melodic Studies. (Oesterle).15 Studies in Style and Expression.

(Oesterle).20 Studies on the Singing Touch.

(Oesterle).15 Studies in Style. (Deis).24 Brilliant Preludes in all the Majorand Minor Keys. For Small Hands.

15 Studies in Expression, (von Doenhofif)30 Selected Studies. (Oesterle).

^^^vv-'

G. SCHIRMER, INC.,

CRAMER, J. B.L.142