拍品 139
139
[PIANISTS.] CZERNY, Karl (1791-1857). Autograph draft letter signed ("Carl Czerny"), to an unidentified correspondent, Vienna, 1 March 1825. 2 pages, folio, in German, in giltwood frame. CZERNY EXTOLLS THE FORTEPIANO. An excellent letter in which the pianist discusses his agreement with Herr Peters of Leipzig (presumably the publisher), to rework the Müller fortepiano school method, which had "gained the Müller School the approval of the world," and to incorporate the "extraordinary progress that the technique of keyboard playing has made in the last decades." Czerny discusses the important "discoveries and improvements in tone and mechanism" of the fortepiano year by year, as well as the perfection of its treatment as achieved by the "virtuosos of our time through their playing and through their compositions," so that it is impossible to foresee when "this complex instrument, which promises to surpass all others" will be perfected. He therefore aims to draw upon the notes he has collected over a 20-year teaching career, and to incorporate as much as he can without altering the entire structure of the work or swelling it to a disproportionate size. In particular, he has almost completely rewritten the introduction to general principles and has made important alterations to the sections on fingering (with a strong emphasis on scales), ornamentation and articulation. A teacher of Liszt, Czerny is particularly well-known for his technical studies for the piano. -- CLEMENTI, Muzio (1752-1832). Document signed ("Muzio Clementi"), n.p., 25 March 1823. 1 page, narrow oblong 4to, in wood frame. Receipt for "thirty pounds for fixtures in my present dwelling home" in Kensington. -- MOSCHELES, Ignaz (1794-1870). Autograph musical quotation signed ("I. Moscheles"), n.p., 6 March 1846. 1 page, narrow oblong 8vo, one bar on hand-drawn stave, in giltwood frame. The pianist provides a cryptic inscription "Imitate your fine voice on a musical instrument is better than all passages of that kind," followed by a brief musical quotation. In 1846 Moscheles joined the Leipzig Conservatory faculty, where he became renowned for his teaching and his piano improvisation. Together three items. (3)

细节
[PIANISTS.] CZERNY, Karl (1791-1857). Autograph draft letter signed ("Carl Czerny"), to an unidentified correspondent, Vienna, 1 March 1825. 2 pages, folio, in German, in giltwood frame. CZERNY EXTOLLS THE FORTEPIANO. An excellent letter in which the pianist discusses his agreement with Herr Peters of Leipzig (presumably the publisher), to rework the Müller fortepiano school method, which had "gained the Müller School the approval of the world," and to incorporate the "extraordinary progress that the technique of keyboard playing has made in the last decades." Czerny discusses the important "discoveries and improvements in tone and mechanism" of the fortepiano year by year, as well as the perfection of its treatment as achieved by the "virtuosos of our time through their playing and through their compositions," so that it is impossible to foresee when "this complex instrument, which promises to surpass all others" will be perfected. He therefore aims to draw upon the notes he has collected over a 20-year teaching career, and to incorporate as much as he can without altering the entire structure of the work or swelling it to a disproportionate size. In particular, he has almost completely rewritten the introduction to general principles and has made important alterations to the sections on fingering (with a strong emphasis on scales), ornamentation and articulation. A teacher of Liszt, Czerny is particularly well-known for his technical studies for the piano. -- CLEMENTI, Muzio (1752-1832). Document signed ("Muzio Clementi"), n.p., 25 March 1823. 1 page, narrow oblong 4to, in wood frame. Receipt for "thirty pounds for fixtures in my present dwelling home" in Kensington. -- MOSCHELES, Ignaz (1794-1870). Autograph musical quotation signed ("I. Moscheles"), n.p., 6 March 1846. 1 page, narrow oblong 8vo, one bar on hand-drawn stave, in giltwood frame. The pianist provides a cryptic inscription "Imitate your fine voice on a musical instrument is better than all passages of that kind," followed by a brief musical quotation. In 1846 Moscheles joined the Leipzig Conservatory faculty, where he became renowned for his teaching and his piano improvisation. Together three items. (3)