@johnharding9792. Written sources,, + - 200 years old tell of a competative mentality among pianists. That explains a lot of the «impossible» fast MM numbes. So we know that they cultivated the virtuosic, piano keys were their sports arena. But also note that the composers in their music give the pianists slow movements. Here the pianists had the opportunity to improvise details and emphasize the emotional in the slow movements. Criticism of the virtuoso often betrays a lack of musical experience. The pianists were not only artists who were supposed to express the emptional, but they were practical professional practitioners as well. If they had a virtuoso level of playing technique, it was easier for them to deal with practical challenges, such as when a colleague fell ill and another had to substitute at short notice. Or that a violinist, singer, flutist etc changes his mind and at short notice would rather perform something else. Then the pianist who has a virtuoso technique succeeds better. A virtuoso level also made it much easier to become goos at sight reading. (prima vista) Being able to play compositions for the first time in tempo was a practical and therefore important quality in the pianists daily work as professional musicians. Moreover - the human emotional register is wide. It is too narrow to believe that all musical expressions work best in slow pieces. Emotions such as rage and indescribable joy work best in virtuoso tempo.

@orso4548. Kim play the exact tempo that Czerny marked, so then you have to tell us: what is he doing wrong?

...I HATED those Czerny, Hannon & Duvernoy lessons, but wish I'd appreciated them...I'm 74 (75 in Nov)...started lessons @ 5 in early 1955...my biggest (and the one of which I was most proud of at the time) was being able to reach an octave...I was prolly about 7...the first time I EVER appreciated Bach's Inventions was when I listened to 'Switched On Bach' with my dad's Sennheiser headphones - and that started my journey into the organ music of Bach (and others)...now I'm back discovering what I missed almost 70 years ago...

I'm 14, and I'm aware that Czerny etudes are pretty fun to play. I'm trying to play his etudes from Op. 299, and I'm having fun playing them.

Valerie Tryon

rather distrubing indeed i must say fellow chap

The E in the soprano is a “Bad” note-i.e., on a weak beat: hence no parallel fifths. Nor are they musically objectionable in this context. Scarlatti was composing music, not species counterpoint. Vive la différance!

Mes compositions sont quand même plus belles que les siennes.