5500 Guitar Chords by Ashlund U.

By Ashlund U.

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This was never a hard-and-fast separation (Czerny learnt a good deal from Clementi too; and, as von Bulow suggests, Cramer departed from Clementi in certain essentials of technique15 ), but until the 1820s the two lines retained a measure of independence. It was partly the achievement of a younger generation of pianists to draw them together, and in this respect even Liszt’s youthful exercises made their modest contribution. By the time of their composition, of course, the real explosion of pianistic virtuosity had already occurred.

T. W. Adorno, Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. Christian Lenhardt (London, 1983), pp. 285–9; and Carl Dahlhaus, ‘New Music and the Problem of Musical Genre’, in Schoenberg and the New Music, trans. Derrick Puffett and Alfred Clayton (Cambridge, 1987), pp. 32–44. Aside from Czerny’s well-known text (see note 22), we might cite Kalkbrenner’s subtitle to his set of Vingt-quatre pr´eludes, where he suggests that they ‘pouvant servir d’example pour apprendre a` pr´eluder’.

Is far nearer to Bach than Mozart ever was’,6 he no doubt meant, at least partly, the general tendency for the Romantic generation to reach back across the Classical era to recover something of Bach’s formal thinking, a unitary process of departure and return, often marked by the consistency of figuration or unity of mood found in etudes and character pieces. 7 His central aim was to classify etudes according to their technical features, but he also attempted an evaluation of composers and of individual etudes (partly by assigning asterisks to those etudes exhibiting ‘poetic’ quality).

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