LIST OF SUBSCRIBERS.

BETTS, Arthur, Esq., Royal Exchange.
BIDEN, Mr. James, Kingston-on-Thames.
BINFIELD, Mr. Bilson, Reading.
BINFIELD, Mr. William, Cheltenham.
BINFIELD, Mr. William, Boston.
BIRCH, Mr. J. T., Organist, Uxbridge.
BLACKBURN, Mr. W. H., Music Seller, Bradford.
BLACKBURN, Mr. John, Organist of St. Paul's Church,
Leeds.

BOOTH, Mr. E., Professor of Music, Leeds.

BOND, Mr. H., Organist, Nottingham.

BOND, Mr. C. J., Organist, Trinity Chapel, Brighton.

BRAHAM, Mr. John, London.

BRAILSFORD, Mr. Edward, Brighton.

BRANDAU, Mr. F. W., 22, Great Portland Street, London.

BROWN, Mr., Organist of Holy Trinity Church,
Cambridge.

BROWN, Mr. R. A., Professor of Music, Leeds.

BOWLES, Mr., Professor of Music, Stratford, Essex.

BROWNE, Miss Willis, Bath.

BROWNE, Mr. Willis, Professor of Music, 5, Saville Row,
Bath.

BROWNE, Mr. J., Professor of Music, Lowestoft.

BUCHER, Mr. T., Professor of Singing, Edinburgh.

BUCK, Zachariah, Esq., Organist of the Cathedral,
Norwich. 6 Copies.

BURTON, Mr. J. H., Reading.

BURTON, Mr. Robert, 54, Albion Street, Leeds.

BOHUSZEWICZ, Mr. Edward B., Organist of the West-
minster, and Leader of the Beethoven Society,
Providence R. I. to Messrs. Wiley and Putnam.

BARTOL, Mr. H. V., Portland, Maine, U. S. per ditto.

CAMIDGE, Dr., York.

CARD, Mr. William, St. James Street, London.

CHAPPELL, Mrs., 50, New Bond Street.

CHATTERTON, Mr. Frederick, Professor of the Harp, Great
Portland Street.

CHURCHILL, Mr. Joseph, Organist of St. Mathew's
Church, Bristol.

CLARE, Mr. Edward, London.

CLARINGBOLD, Mrs. George, Organist, Deal.

CLARKE, Mr. James, London.

CLARKE, Mr. James, Music Seller, Leeds.

COHAN, Mr. J., Professor of Music, London.

COLLINS, Mr. W., Bandmaster of the Royal Artillery.

COOPER, J. T., F.R.A.S., Organist of St. Paul's Church,
Islington.

CORDER, Mr. Thomas, Cape Town.

CORFE, Mr. J. D., Organist of Bristol Cathedral.

CORRIE, Mr. J. T., Professor of Music, Windsor.

Cox, Mr. James, Junr., Organist of St. Luke's, Charlton,
Kent.

CRAMER, BEALE, AND Co., Messrs., 201, Regent Street,
London.

CRAMER, Mr. W., Brighton.

CRITCHFIELD, Mr. Samuel, Professor of Music, Norwich.

CROAL, Mr. George, Music Seller, Edinburgh.

CRAFTON, Mr. Valentine, Professor of Music, Drogheda.

CROSSLY, Mr. G. J., Organist, Darlington.

CROWE, Mr., Professor of Music, Lancaster.

CROWE, Mr. Richard, Professor of Singing and Music,
Liverpool, Collegiate Institution.

CUMMINS, Charles, Esq., 3, Brunswick Terrace, Leeds.

CURTIS, Henry, Esq., Bank Buildings.

CONRAN, Mr. W. S., Professor of Music, Dublin.

DACE, Mr., 69, East Hill, Colchester.

DALE, Mr. Joseph, Kensington Hall, Fulham.

D'ALQUEN, F. M., Esq., Brighton.

DENNIS, Mr. George, Bookseller, Colchester.

DEWHURST, Mr., Music Seller, Huddersfield.

DIX, Mr. Thomas, Organist, Faversham.

DIXON, William, Esq., Organist, Grantham.

DOWNING, Samuel, Esq., 7, Charrington Street, Clarendon
Square.

EAGER, Mr. John, Edinburgh.

ELLIOT, Mr., Mount Terrace, Taunton.

ELSTON, Mr. John, Professor of the Harp, Leamington.

ELVEY, G. J., Mus. Doc., Windsor Castle.

ELVEY, Dr., Oxford.

ERANS, Mr., Professor of Music, Birmingham.

ERITH, Mr. F. Norton, Professor of Music, Taunton.

ESAIN, Mr. A., Portland Place, Clifton, Bristol.

EVANS, Mr., Cheltenham.

LIST OF SUBSCRIBERS.

FAGG, Mr. Frederick, Professor of Music, Margate.

FAGG, Mr., Hull.

FAWCETT, Mr. Thomas, Organist of the Parish Church,
Bolton.

FAWCETT, Mr. John, Junr., Organist, Bolton.

FINLAYSON, Mrs., Music Seller, Cheltenham.

FISHER, Mr. D., Junr., Professor of Music, Lynn.

FORBES, Mr. Henry, London.

FORSTER, Mr. R. W., Ipswich.

FOSTER, Mr. W., Organist of St. Peter le Poor, and St.
Benet Fink, Old Broad Street.

FRANCALANGER, Mr. T., Edinburgh.

FRENCH, Mr., Lay Clerk, Cathedral, Rochester.

FROBISHER, Mr. J. H., Organist, Parish Church, Halifax.

FROST, Mr. Edward, Professor of Music, Oxford.

FORD, Mr. Henry Edmund, Organist of the Cathedral,
Carlisle.

GALLOWAY, Mr. W., Professor of Music, Greenock.

GANS, Mr. B. R., Professor of Music, Liverpool.

GARDINER, Mr. Thomas, Organist, Highgate.

GARDNER, Mr. Charles, Organist of St. Margaret's, Lee.

GARLAND, Mr. Francis, North Shields.

GARTH, Mr. James, Professor of Music, Knaresborough.

GIFFORD, Mr. John, Cambridge.

GILLILAND, Mr. L., London.

GILLISPIE, Mr. William F., Organist of St. Mary's, Cork.

GODFREY, Mr. C., Coldstream Guards.

GOODBAN, Mr. Thomas, Canterbury.

GOODWIN, Mr. John, Organist, Dorking.

GOODWIN, Mr. John Lawrence, Organist, Cheltenham.

GORDON, Miss, Oxford.

GRAHAM, Mr. T., Professor of Music, Manchester.

GREAVES, J., Esq., Organist of the Parish Church,
Preston.

GREAVES, Mr. J. J., Organist of St. George's Church,
Bolton.

GREEN, Mr. John, Professor of Music, Stockport.

GRIESBACH, J. H., Esq., 3, Carlton Villas, Maida Vale.

GROSVENOR, Mr. S., Organist, Dudley.

GUNTON, W., Esq., Professor of Music, Chester.

GUNTON, Thomas, Esq., Organist of Chester Cathedral.

GUTTERIDGE, Mr. William, Organist of Her Majesty's
Private Chapel, Brighton.

GROVES, Henry John, Esq., Organist of St. Mary de Lode,
Gloucester.

GRAHAM, J. H., Mr., Professor of the Pianoforte, Harp,
and Guitar, Kirby, Moorside.

GOVER, Mr., Professor of Music, Bridgenorth.

HACKING, Mr. R., Organist of the Parish Church, Bury,
Lancashire.

HAMMOND, Mr. Henry, Professor of Music, and Organist
of All Saints' Church, Southampton.

HAMMOND, Mr. George, Professor of the Harp,
Southampton.

HARCOURT, Mr. James, Norwich.

HIXSON, Mr. Henry Edmund, Organist of Alnwick and
Howick, Northumberland.

HARGITT, Mr. Charles, Junr., Edinburgh.

HARRINGTON, Mr. P., Organist, Bury, St. Edmunds.

HARRIS, J. J., Esq., 3, Sidney Place, Manchester.

HARVEY, Mr. John, Music Seller, Sidmouth.

HARRISON, Mr. John, Professor of Music, Deal.

HARROWAY, J., Esq., R.A., Theatre Royal, Brighton.

HARTUNG, Mr. Charles, Music Seller, Jersey.

HAY, Mr. George, Professor of Music, Wolverhampton.

HAYCRAFT, Mr. Henry J., Member and Associate of the
Royal Academy of Music, Exeter.

HEAZLE, Mr. William, Organist, Cork.

HENSHAW, W., Esq., Organist of the Cathedral, Durham.

HERBERT, Mr. Henry, Wimbourne.

HERRMAN, J. Zengheer, Esq., Liverpool.

HERVEY, Mr. D., Russell Street, Bath.

HEWETT, Mr. Leamington.

HIGHAM, Mr. John, Professor of Music, Blackburn.

HILES, Mr. J., Organist of the Music Hall, the Abbey
and Trinity Churches, and Saint John's Chapel,
Shrewsbury.

HILL, Joseph, Esq., Stockton-upon-Tees.

HIME AND SON, Messrs., Music Sellers, Liverpool.

HIME, BEALE, AND Co., Messrs., Manchester.

HINDMARSH, Mr., Professor of Music, Glasgow.

HOADLEY, Mr. J. C., Professor of Music, Maidstone.

HOPKINS, John Larkin, Esq., Mus. Bac. Cantab., Organist
of Rochester Cathedral.

HOPKINSON, Mr. J., Organist, Leeds.

HORSLEY, Charles, Esq., Kensington Gravel Pits.

HORN, Mr. Thomas, Music Seller, Newcastle-upon-Tyne.

3

LIST OF SUBSCRIBERS.

OLIVER, Mr., Band Master of the 20th Regiment, Kings-
ton, Canada.

PAGE, Mr. Edward, Professor of Music, Coventry.

PAGE, Master, Lewes.

PAINE, Mr. James H., 92, High Street, Marylebone.

PALMER, Benj., Esq., Organist of St. James's, Clapham.

PALMER, Mr. H., Jun., Canterbury.

PASHLEY, Mr. C., Music Master, Eye, Suffolk.

PATERSON AND Roy, Messrs., Edinburgh.

PATERSON, Mr. A., Professor of Music, Valentine Terrace,
Blackheath Road.

PATTEN, Mr. William, Winchester.

PATTERSON, Mr. Robert, Professor of Music, Douglas,
Isle of Man.

PEED, Mr. Thomas Thorpe, Wisbeach.

PEARCE, Mr. George, Professor of Music, Guernsey.

PEARSE, Mr. J. T., Professor of Music, Launceston.

PETTET, Mr. Edward, Brighton.

PETTMAN, Mr. Thomas, Professor of Music, Ramsgate.

PHIPPS, Mr. Osmond, Organist, Ramsgate.

PICKERING, Mrs. Alice, Manchester.

PICKERING, Mr. Thomas, Royston.

PIGOTT, Mr. S. J., Music Seller, Dublin.

PITCHER, Mr. Thomas, Professor of the Violin, Ramsgate.

PITCHER, Mr. J., Professor of the Violoncello, Southam-
ton.

POOLEY, Miss, Bath.

POTTS, Mr. Mark, Professor of Music, Hexham.

PRESTON, Mr. Thomas, Organist and Professor of Music,
Fakenham, Norfolk.

PYMAR, Mr. Thomas, Organist, Beccles.

RAFAREL, Mr. Charles Claudius, Organist of Penneris
Chapel, Falmouth.

RAPER, H., Esq., 18, Tavistock Place, Tavistock Square.

REEVE, Mr. J. Whitenstall, Bury St. Edmunds.

REAY, Mr. Samuel, Professor of Music, and Organist of
St. Andrew's, 47, Carliol St., Newcastle-on-Tyne.

REDL, Mr. Joseph, Director of Music, Walhalla.

RIDDELL, R. A., Esq., 27, Bryanstone Street, Portman
Square.

RIDLEY, William, Esq., Fulham Road.

RICHARDSON, Mr. J. M., Cornhill.

ROBBENS, Mr. S., Margaret's Buildings, Bath.

ROBERTSON, Mr. Alexander, Edinburgh.

ROBINSON, Mr. John, Music Seller, York.

ROBINSON, Mr. W., Professor of Music, Blackburn.

ROBINSON, BUSSELL, AND ROBINSON, Messrs., Music Sellers,
Dublin.

ROCHE, Mr. Alexander D., Professor of Music, and Music
Seller, Cork.

ROGERS, Mr. Handel, Organist of the Cathedral, Limerick.

ROGERS, Mr. N. L., Master of the Band, Division of Ma-
rines, Chatham.

RÖHNER, Mr. G. W., Professor of Music, Sheffield.

ROSSON, Mr. A., Organist of Saint James's and Christ
Church, Accrington.

RUSSELL, Mr. George, Organist of Holy Trinity Church,
Guildford.

ROILEY, Mr. J., Professor of Music, St. George's Terrace,
Bolton-le-Moors.

SANDERSON, Miss Elizabeth, Brighton.

SCHNEBBELIE, Mr. J., Professor of Music, Brompton,
Kent.

SEED, Mr. Richard, Professor of Music, 17, St. Ann's
Street, Manchester.

SELLE, Mr. W. C., Richmond.

SHARMAN, W. H., Esq., Organist of St. George's Church,
Birmingham.

SHARMAN, Miss Anne, Professor of the Harp, Birmingham.

SHEARMAN, Mr. Samuel Thomas, London.

SIMMS, H., Esq., Birmingham.

SIMMS, Mr. Henry, Bath.

SIMMS, Edward, Esq., Coventry.

SIMPSON, Mr., Organist of the Parish Church, Bradford.

SINNEY, Mr. Wm., Professor of Music, Exeter.

SIPPEL, Mr. Charles, Cambridge.

SLYTH, Miss, Brighton.

SMITH, Mr. Edmund F., Liverpool.

SMITH, Mr. James, Music Seller, 66, Lord Street, Liverpool.

SMITH, Henry, Esq., Leeds.

5

LIST OF SUBSCRIBERS.

SMYTHSON, Mr. A. M., Professor of Music, 4 King Street, Holborn.

St. AUBIN, Madlle., Pupil of Mr. Moschelles.

STIMPSON, Mr. J., Organist of the Town Hall and St. Paul's, Birmingham.

STOKES, John, Esq., Professor of Music, North Shields.

STOKER, Mr. John, Leader of the Band, Theatre, Scarboro.

SUNDERLAND, Mr. A. S., Organist and Professor of Music, Keighley.

SMITH, Mr. William, Professor of Music, Wivenhoe, near Colchester.

TAYLOR, Edward, Esq., Professor of Music, Gresham College.

TAYLOR, Mr. Bianchi, Bath.

THATCHER, Miss, 31 A, Upper Seymour Street, Portman Square.

THATCHER, Miss, Cassenden House, near Watford.

THORNE, Mr., Colchester.

TIERNEY, Mr. John, Drum Major 20th Regiment, Kingston, Upper Canada.

TOMLINSON, Mr. T. H., Professor of Music and Organist of St. Saviour's, York.

TOMLINSON, Mr. John, Professor of Music and Organist of St. Helen's, Stonegate, York.

TOMS, Mr., Professor of Music, 63, Mount Pleasant, Liverpool.

TREAKELL, Mr. J. T., Professor of Music, Ryde, Isle of Wight.

TROUF, Mr., Professor of Music, Rochester.

TUCKER, Miss, 89, Western Road, Brighton.

TURNER, Mr. Charles Moss, Professor of Music, London.

TWISS, Mr., Professor of Music and Organist of St. Paul's, Manchester.

TYRRELL, Mr. W., Professor of Music, Stonyhurst College, Lancashire.

VICKERS, Mr. George, Limerick.

WADDINGTON, Mr. John, Professor of Music, Manchester.

WADDINGTON, J., Jun. Esq., 131, Oxford Road, Manchester.

WALLACE, W. V., Esq., London.

WALLIS, C., Esq., Litcham, near Swaffham, 2 copies.

WATSON, Mr. Joseph, Professor of Music, Malton.

WATSON, Mr. George, 45, Mansell Street, London.

WEAVER, Mr. Thomas, Professor of Music, Penzance.

WEBBE, Mr., Professor of Music, Edinburgh.

WEBSTER, Mr. John, Professor of Music, Sheffield.

WEISS, Mr. W. G., Music Seller, Liverpool.

WESTON, Mr. Robert, Professor of Music, Manchester.

WHITE, Mr. J., Organist, Nottingham.

WHITE, Edward, Esq., Wakefield.

WHITEHEAD, Mr. Alfred, Organist of St. Mary de Crypt, Gloucester.

WHITWORTH, Rev. W. H., M.A., Dedham, near Colchester, Essex.

WICHTENDAHL, Mr. Thomas, Band Master, 30th Regiment, Cork.

WILEY and PUTNAM, Messrs., Booksellers, London and New York.

WILLY, Mr. J. T., 15, Aldenham Terrace, Old St. Pancras.

WILLIAMS, Frederic, Esq., Bath.

WILSON, Mr. J. M., Professor of Music, Nottingham.

WILSON, M. C., Esq., 22, Connaught Square, London.

WILSON, Mr. Walter, Organist of St. Mary's and Christ's Church, Scarboro.

WINTER, Mr., Organist, Long Sutton.

WISE, Mr. J. G., Professor of Music, London.

WOOD, Mr. Thomas, Cambridge.

WOOD, Mr. Samuel, Organist, Preston.

WOODWARD, Mr. Thomas, Organist, Cheltenham.

WOODWARD, Mr. Henry, Neston.

WOOLLEY, T., Esq., Nottingham.

WRIGHT, Mr. T. H., Sen., Brighton.

WRIGHT, Mr. A., Organist of Carrs Lane Chapel, Birmingham.

YOUNG, Mr., Professor of Music, Gloucester Place, Bristol Road, Birmingham.

YOUNG, Mr. John, Organist and Professor of Music, St. John's, York.

CONTENTS OF THE FIRST VOLUME.

<table><tr><td>Translator's Preface</td><td>i</td></tr><tr><td>Author's Preface</td><td>iii</td></tr><tr><td>Memoir of the Author and complete list of his works</td><td>v</td></tr><tr><td>Introduction</td><td>1</td></tr></table>

PART I.

A. ON COMPOSITIONS FOR THE PIANOFORTE
WITHOUT ACCOMPANIMENTS.

<table><tr><td>CHAP. I. On Themes of one and two Parts or Strains</td><td>6</td></tr><tr><td>CHAP. II. Of the modulations practicable in Themes of two Parts or Strains</td><td>9</td></tr><tr><td>CHAP. III. Of the Rhythm in Themes of two Parts or Strains</td><td>17</td></tr><tr><td>CHAP. IV. Of Variations</td><td>21</td></tr><tr><td>CHAP. V. Of the Introduction and Finale to a Theme with Variations</td><td>30</td></tr><tr><td>CHAP. VI. Of the Sonata</td><td>33</td></tr><tr><td>Of the first movement of the Sonata</td><td>ib</td></tr><tr><td>Of the modulations of the Sonata in a major key</td><td>34</td></tr><tr><td>Of the Sonata in a minor key</td><td>47</td></tr><tr><td>Particular remarks on the minor keys</td><td>52</td></tr><tr><td>CHAP. VII. Of the Introduction for the Sonata</td><td>53</td></tr><tr><td>CHAP. VIII. Of the Adagio and Andante, or of the second movement of the Sonata</td><td>56</td></tr><tr><td>CHAP. IX. Of the Minuet or Scherzo, as the third movement of the Sonata</td><td>59</td></tr><tr><td>CHAP. X. Of the Rondo or Finale, as the fourth movement of the Sonata</td><td>67</td></tr><tr><td>Of the construction of the Rondo or Finale</td><td>69</td></tr><tr><td>CHAP. XI. Of the Fantasia</td><td>82</td></tr><tr><td>a. Of the Fantasia on a single theme</td><td>ib</td></tr><tr><td>b. On several themes</td><td>83</td></tr><tr><td>c. On known themes</td><td>86</td></tr><tr><td>d. Forming a Pot-pourri</td><td>87</td></tr><tr><td>Remarks on refined taste in embellishments</td><td>88</td></tr><tr><td>e. Of the Capriccio</td><td>89</td></tr></table>

6118

CHAP. XII. Of the ETUDE or Study .................................... 90
Remarks on real and accidental melody .................................... 94

CHAP. XIII. Of the Notturno ............................................ 97

CHAP. XIV. Of compositions under various particular names, and of those
in an easy style ............................................................ 99

CHAP. XV. Of Dance music ............................................ 100

CHAP. XVI. Of Military music ............................................ 109

CHAP. XVII. Of compositions in the strict style; with an appendix
on compositions for the Organ ............................................ 114

a. Of the Prelude .......................................................... ib

b. Of the Fugue ............................................................ 118

c. Of the Canon ............................................................ 125

Appendix. — On compositions for the Organ .................................... 128

CHAP. XVIII. Of Pianoforte Duetts, and of compositions for two
Pianofortes, and for the Harp............................................ 132

B. ON COMPOSITIONS FOR THE PIANOFORTE WITH
ACCOMPANIMENTS FOR OTHER INSTRUMENTS.

CHAP. XIX. Of the Duett .................................................... 140

a. Of the Duett for Pianoforte and Violin .................................... ib

b. _________ for Pianoforte and Violoncello ............................ 144

c. _________ for the Pianoforte and a wind instrument .................... 146

CHAP. XX. Of the Trio ............................................................ 147

CHAP. XXI. Of the Quartett, Quintett, Sestett &c. for Pianoforte,
with stringed and wind instruments ............................................ 153

CHAP. XXII. Of the Concerto, and other compositions with orchestral
accompaniments .................................................................... 159

Of Variations, Rondos, and Fantasias, with orchestral
accompaniments .................................................................... 167

Concluding remarks on the first Part ............................................ 168

END OF VOL. I.

618

TRANSLATOR'S PREFACE.

Now that this work has come before the public, it would be useless to dwell on the various causes which have retarded its appearance, or to offer a number of empty apologies to the subscribers, which are, in general, more gratifying to the vanity of the writer than acceptable to the reader. Suffice it therefore to say, that, during the time which has elapsed since the issuing of the Prospectus, no pains have been spared to render the work, if possible, still more worthy the attention of musical students, by many important additions; among which may be named:—particulars respecting compositions for the Organ; others relating to the Cornopean, Valve Trumpet, Sax Horns, &c.; a more enlarged article on the music of the Protestant Church; new examples and remarks received from the Author; and a translation of the words belonging to the vocal pieces, from the pen of Mr. William Ball—a feature not originally contemplated.

The Editor has also added a Memoir of the highly-gifted Author, and a complete list of his works, which, he hopes, will prove interesting, and serve to repel the assertion sometimes made, that although so many works have appeared under Czerny's name, they have not all proceeded from him, which is both unfounded and unjust, and generally arises from the inability of those who make it to conceive a greater degree of talent and industry than they themselves possess.

Before closing these observations, the Editor desires to return his best acknowledgments to the Messrs. Distin, for the kind manner in which they communicated to him various particulars respecting brass instruments, their performances on which are too well known and deservedly appreciated to require any comment from him; nor must he omit to express his great obligations to his esteemed friend, A. Merrick, Esq., translator of the admirable English edition of the theoretical works of Albrechtsberger, for many valuable suggestions resulting from a perusal of the proof sheets.

To the student of the present work, any remarks on its excellence might appear superfluous. Yet it may with truth be asserted, that, if he diligently follow the course prescribed by the Author, the result will amply reward him for his toil, and demonstrate the justness of the motto—

"Die praktische Uebung frönt das theoretische Wissen."

which may be thus briefly expressed :—

PRACTICE PERFECTS THEORY.

J. B.

Charlton Kings, Cheltenham, 1848.

iii

AUTHOR'S PREFACE.

By the phrase *doctrine of composition*, has hitherto been understood only the instruction in thorough bass and counterpoint. These sciences are indisputably as essential to the composer, as orthography and grammar to him who desires to become a poet and author. But, even with the best-grounded knowledge of harmony and pure composition, the pupil is still ignorant of the *forms* which the different pieces must assume, and which, in music in general, and in that for single instruments in particular, are practicable and usual: and in no treatise on thorough bass which has yet appeared, has the manner of constructing a sonata, a variation, a quartett, a symphony, or even a waltz, been fundamentally described.

The primary object of this work is to supply this important deficiency; and it must be here remarked, that all those for whom the work is designed are supposed to possess an entire *theoretical* knowledge of composition, namely, of harmony, counterpoint, the correct conduct of the parts, &c.; and therefore nothing need be said here on these subjects. But, on the contrary, the form and construction of all musical pieces, as well as the modulations and developments of the principal idea hence resulting, will be exhibited as fully as possible, and in progressive order; and the way pointed out to the young composer of disposing his ideas, and *practically* employing his theoretical knowledge, in order to produce, in a correct form, and agreeably to classical models, all kinds of musical compositions, from the most simple Theme to the Grand Symphony, and from the shortest Song to the Opera and Oratorio.

The second, and not less important object of this work, is the *art of instrumentation*, including the knowledge of the compass and properties of each musical instrument, and of all that is practicable and effective on it. Here the pupil will find mentioned and explained all the combinations, from the simple duett to the fullest orchestral and vocal composition; and the numerous models and examples from the works of the best classical masters, with which each rule is accompanied, may be so much the more welcome, as the majority of young composers seldom have the means of purchasing the expensive full scores of the most esteemed Operas, Symphonies, Oratorios, Concertos, and other concerted pieces; and as even their possession is of little use, if the attention be not specially directed to the skilful working, and to their particular beauties and effects.

Having endeavoured to unfold and reduce to order all that is known on these subjects, which hitherto so many talented young persons, even after long-continued attempts and numerous blunders, have often only been able to learn incidentally, and still oftener imperfectly; we hope to be the means of lessening considerably the manifold difficulties which young composers have to surmount before they can enter upon a successful professional course.

CARL CZERNY.

A BRIEF MEMOIR OF CARL CZERNY.

CARL CZERNY, the highly gifted Author of the present work, was born at Vienna, on the 21st of February, in the year 1791. His parents came from Bohemia; and his father, who had formerly been in the imperial military service of Austria, settled in Vienna, in 1785, as a teacher of the pianoforte.

Like many others who have highly distinguished themselves, Czerny displayed, in his earliest infancy, a great natural disposition for music; and, as his father at that time very diligently practised the works of Bach, Mozart, Clementi, &c. and was frequently visited by the pianoforte players then resident at Vienna, as Kozeluch, Gelinek, Wanhall, and others, the youth had constantly the advantage of hearing good music, and hence his sensibility for the art was speedily manifested. This circumstance doubtless induced his father, who possessed no independent fortune, to devote his earnest attention to educate him for the profession; so that, even in his eighth year, young Carl performed the compositions of Mozart, Clementi, Kozeluch, Gelinek, &c. with much facility.

About this period, the early works of Beethoven appeared; and Czerny became so enamoured with them, as to prefer them to all others. He therefore studied them with peculiar assiduity; and, when about ten years old (in 1801), had the pleasure of being introduced to their renowned Author, who was then in the prime of life, and had created the greatest sensation as a pianoforte player, by the production of effects and difficulties which were previously unknown. He played to Beethoven some of the great master's newest compositions, and made such a favorable impression on him, that Beethoven at once voluntarily offered to take him as a pupil. The intimacy thus formed gradually ripened into the most perfect friendship, which was maintained, unbroken, throughout the too short life of this the greatest musical genius that ever existed. Among the many proofs of high regard which Beethoven entertained for Czerny, it may be mentioned, as a fact not generally known, that he selected him as the musical instructor for his adopted nephew (Carl Beethoven), who afterwards, alas! most deeply embittered his uncle's days, notwithstanding the unbounded kindness which was ever extended towards him.

But to return to the subject of this memoir. Under Beethoven's guidance, Czerny studied, first, the Clavier School and the works of Emanuel Bach; and, then, all the compositions which Beethoven himself had written and published in the course of the year. He had also to arrange many of Beethoven's works, as well as to correct the proofs of such of them as were being prepared for publication, all of which afforded him much practice, and imparted an accurate knowledge of the spirit of these fine compositions.

As the elder Czerny could with difficulty support himself by teaching, Carl, though only in his fourteenth year (in 1805), also commenced giving lessons; and, soon obtaining some talented pupils, he became so celebrated as a teacher, that in a short time every hour of the day was occupied.

vi

In the year 1810, Clementi resided in Vienna, and Czerny became acquainted with him at a noble house where he gave instruction, at which Czerny was nearly always present. This was particularly advantageous to him, as he thereby acquired a knowledge of Clementi's classical method, and formed his own upon it. He soon became one of the most favorite and highly esteemed teachers in Vienna, and gave daily from ten to twelve hours' instruction, chiefly in the noblest and best families. To this occupation he devoted himself for thirty years—from 1805 to 1835; and among his numerous pupils who have become known to the public, are Mademoiselle Belleville, Liszt, Döhler, Pirkhert, &c. Among amateurs too, of a high rank, he has had many pupils who might well have passed for professors.

The disposition which Czerny manifested for composition during his youth, was fully equal to that which he showed for pianoforte-playing; and he almost daily noted down ideas, themes, &c. for all kinds of musical pieces. His father caused him to study diligently the works of Kirnberger, Türk, Albrechtsberger, and others; so that he soon acquired all the requisite theoretical knowledge; and Beethoven thoroughly exercised him in scoring and the art of instrumentation.

But as lesson-giving occupied his whole time, Czerny, for a long while, had no thought of publishing any work. At length, however, in the twenty-seventh year of his age, his Op. 1 appeared, which met with such an unusually favorable reception, that he was afterwards completely overwhelmed with orders, both from the music-publishers of Germany and those of other countries. Hence he was obliged to devote his leisure hours in the evening to composition; and, feeling at all times in a suitable frame of mind for it, he has produced, up to the present period, the immense number of original works named in the subsequent list, independently of numerous arrangements of Masses, Symphonies, Overtures, Operas, &c. &c. Of his original productions, about one third are written in the strict style, one third in the brilliant style, and the remainder for the purpose of instruction, the value of which is known to every teacher of the pianoforte throughout the civilized world.

To youthful and time-destroying diversions or companions, it may be well imagined, Czerny has ever been averse. His sole recreation was, and still is, reading. In 1836, he made a journey to Leipzig; and, in 1837, one to London* and Paris. With these exceptions, he has invariably resided in his native city, Vienna, and, as a man, is held in the very highest estimation by all who have the pleasure of his acquaintance.

* It was at this period that he sold to his spirited publishers, Messrs. Robert Cocks and Co., his Great Pianoforte School, Op. 500, dedicated by gracious command to Her Majesty Queen Victoria; and also made arrangements with them for the publication of the present work: since which time they have become the sole proprietors of more than five hundred of his compositions—a far greater number of this Master's works than is possessed by any other house in Europe.

A COMPLETE LIST OF CARL CZERNY'S WORKS,
BOTH PRINTED AND MANUSCRIPT.

N.B. In the following List the Works are Solos, and for the Pianoforte, where the contrary is not stated. Those marked *
are published by Messrs. R. COCKS and CO.

OP.

1. Vars. Concertantes for Pianoforte and Violin

2. Rondeau brill. sur un Cavatine de Carafa à quatre mains

3. Fant. et Var. brill. (Romance de Blangini) with Accompts. for two Violins, Alto, and Violoncello (Double Bass ad lib.)

4. Le Souvenir, Vars.

5. Premier Grand Rondeau, in C, with Quartett Accompts. ad lib.

6. Valses ou Exercices

7. Première Sonata in A flat.

8. Amicitiae, Andantino with Vars.

9. Vars. brill. et faciles (Thème favori)

10. Grande Sonate brill. à 4 mains

11. Divertissement brill. à 4 mains

12*. Vars. (Traeger-Walzer by F. Schubert) Solo and Duet

13. Second Sonate, in A minor

14*. Brilliant Vars. on an Austrian Waltz

15. Amusement pour le Carnaval, Choix de Valses brill. et faciles; two books

16. Introd. et Var. sur "O cara memoria," with Vecello. Acct. ad lib.

17. Rondo brill. sur un Menuet de C. Kreutzer

18. Grande Polonaise brill. with an Accompt. for a second Pianoforte, or for a Quartett, both ad lib.

19. Vars. sur une Barcarole favorite

20*. Introd. et Vars. sur la Marche favorite della Donna del Lago

21*. Introd. et Vars. sur la Cav. fav. " Sorte secondami"

22*. Premier Rondino sur "Cara deh attendimi," with Quartett Accts. ad lib.

23. Second Rondo brill. à 4 mains, in G

24. Presto caratteristico, Duet in A minor

25*. Vars. brill. sur "Ah come nascondere" à 4 mains

26. Rondo quasi Capriccio, in E flat

27. Fantaisie in B flat

28. Grand Concerto in F, with Orchestral Accompts. The same with Quartett Accompts. The same with an Accompt for a second Pianoforte

29. Second Rondino sur un Thème de l'Opera Corradino, with Quartett Accompts. ad lib.

30. Troisième Rondino sur un Thème de l'Opera Armida

31. Trois Fugues, in F, E flat minor, and C

32. Les Etrenes, Twenty-four Valses

33. La Ricordanza, Variazioni sopra un Tema di Rode

34. Duo pour le Pianoforte à 4 mains, d'après le premier Trio de Mayseder

35*. Valses di Bravura

36. Impromptus on Vars. brill. sur le Cotillon du Ballet Arsena

37. Fant. suivie d'une Romance variée

38. Premier Grand Potpourri Concertant pour deux Pianofortes à 6 mains

39. Quatrième Rondino sur un motif de Fesca

40. Vars. brill. sur la Marche du Ballet La Danseuse d'Athène, à 4 mains

41. Cinquième Rondino sur un motif de Beethoven

42. Sixième Rondino sur un motif original, Le jours passée

43. Second Divertissement brill. sur la Cav. "Aure felice," à 4 mains

44*. Romance de Beethoven arrangée en Rondo brill. à 4 mains

45. Les Charmes de Baden, Rondo Pastoral

46*. Vars. on a Bohemian Air

47. Grand Exercice di Bravura en forme de Rondeau brill.

48. "Die Schiffende," Song with Pianoforte Accompt. words by Höltz

OP.

49*. Deux Sonatines brill. in C and F

50. Deux Sonatines brill. à 4 mains, in G and C

51. Deux Sonatines brill. pour le Pianoforte et Violin Concertans, in B flat and G

52. Vars. in an easy style on the concluding Air from Die Fee aus Frankreich

53. Rondoletto scherzando in C

54. Ouverture caractéristique et brill. à 4 mains

55. Les Charmes de l'Amitie, Thème de Beethoven

56*. Introd. et Vars. sur la première Galoppe

57. Troisième Grande Sonata, in F minor

58. Leggerezza e Bravura, Rondo brill. with Quartett Accts. ad lib.

59. Introd. Vars. brill. et Rondo sur la Marche favorite de Roland

60. Vars. and Rondo on C. M. von Weber's Hunting Chorus from Euryanthe, with Orchestral Accompaniments

61. Preludes, Cadences, and a short Fantasia in a brilliant style

62. Caprice et Vars. sur "An Alexis'" de Himmel

63. Toccatine brill. et facile sur la Tarantelle du Ballet Die Fee und der Ritter

64. Fant. dans le style moderne en Potpourri

65. Quatrième Sonate in G

66. Rondeau en Valse in C

67*. Vars. Concert. suivies d'un Rondeau de Chasse sur la marche du Ballet, Barbe Bleu, à 4 mains

68. Rondeau passioné

69. Allegretto grazioso sopra un Tema de Ballo, Barbe Bleu

70. Romance pour le Pianoforte, in D

71. Nocturne brill. sur "Das waren mir selige Tage," à 4 mains

72. Rondeau mignon, No 1 in C; ditto No. 2 in G

73*. Vars. on "Gott erhalte Franz den Kaiser," with Quartett or Orchestral Accompts. ad lib.

74. Rondoletto brill. in E flat.

75. Trois Grands Allegros in G, B minor, and A flat

76. Cinquième Sonate, in E

77*. "God save the King." with Vars.

78. Concertino pour le Pianoforte avec Accomp. de deux Violons, Alto, et Violoncello obligato, Flüte et deux Cors. ad lib., in C

79. Trois Grandes Marches in C, D, and E flat, solo and duet

80. Introd. 7 Vars. e Finale sopra un Tema favorita per Pianoforte e Flauto ossia Violino Concertante

81*. Vars. sur un Marche Anglaise

82. Grand Exercice pour le Pianoforte, in F minor

83. Romanze from W. Scott's "Fraulein vom See" (English and German) for a Voice with Pianoforte Accompt.

84. Second Grand Potpourri Concertant pour deux Pianos à 6 mains

85*. Trois Polonaises

86. Introd. Vars. and Finale on the Bavarian National Song

87. Introd. et Vars. sur la Valse de Gallenberg, à 4 mains

88. Septième Rondino sur un motif de l'Opera, Elisa e Claudio

89. Capriccio à la Fuga, in E minor

90*. Six Rondeaux mignons, à 4 mains

91. "Es rillen drei Reiter," German Air with Vars.

92. Toccata ou Exercice in C

93. Rondo espressivo in E

94. Deux Grandes Marches à 4 mains

95. Grand Nocturne brill. pour le Pianoforte, avec Accomp. de Flüte, Clarinetti, Cor, Bassoon, Violon, Alto, Violoncelle, et Contra-basse, in C minor

viii

96. Huitième Rondino sur un motif original (alla Polacca)

97. Nevième Rondino (La Chasse)

98. Dixième Rondino, sur un motif de Mozart

99*. Onzième Rondino, sur un motif de J. Haydn

100. Douzième Rondino, sur un motif de Cherubini

101. March, on occasion of the Coronation of the Empress Carolina as Queen of Hungary, Sep. 25, 1825; solo and duet

102. Troisième Rondeau brill. à 4 mains

103. Vars. brill. sur un Air Militaire Française

104. Trois Sonatines brill. pour le Pianoforte, avec Accomp. d'un Violon et Vcelle. ad lib. in G, C, and A minor

105. Premièr Grand Trio pour le Pianoforte, Violon, et Vcelle. in E flat

106. Introd. et Vars. sur un Thème original, à 4 mains

107. Rondeau brill. dans le style Français, in D minor

108. Caprice in E minor.

109. Fünf unvergängliche Blümchen, words by F. A. Kleinschmid, for a voice with a Pianoforte Accompaniment

110. Premièr Décameron Musical, Recueil de Compositions brill. et faciles; ten books

111. Premièr Décameron Musical, Recueil de Compositions brill. et faciles, à 4 mains; ten books

112*. Second Galoppe variée

113. Vars. sur un Thème original

114. Valse variée

115. Easy Variations on a Theme from the Farce, Staberl's Reise Abentheuer in Frankfort and München

116. Impromptu brill. à 4 mains

117. Tendress, Amitié, et Confiance, three Rondeaux

118. Grande Polonaise brill. avec Accomp. de 2 Violons, Alto, et Velle. in F; the same for Pianoforte solo

119. Sonate Militaire à 4 mains, avec Accomp. d'un Violon et Velle. ad lib. in C.

120. Sonate Sentimentale à 4 mains, avec Accomp. d'un Violon et Velle. ad lib. in G

121. Sonate Pastorale à 4 mains, avec Accomp. de Violon et Velle. and lib. in F

122. Grand Divertissement en forme de Rondeau brill. pour le Pianoforte, avec Accomp. de l'Orchestre; ditto avec Accomp. d'un Quatuor; ditto pour le Pianoforte solo

123. Vars. brill. sur " *Gott erhältе Franz den Kaiser*," à 4 mains

124. Sixième Sonate, in D minor

125. Vars. brill. sur un Thème de l'Opera. Il Crociato, à 4 mains

126. Grande Serenade Concertante pour le Pianoforte, Clarinet, Cor, et Violoncelle (ou Violon, Alto, et Violoncelle), in E flat

127. Treizième Rondino sur un Thème de l'Opera Le Maçon, with Quartett Accompts. ad lib.

128. Rondeau brillant in A

129. Duo Concertant pour le Pianoforte et Flüte (ou Violoncelle) in C

130. Variations brillantes sur deux Thèmes de l'Opera, L'Ultimo Giorno di Pompei, à 4 mains

131. Fantaisie élegante, ou Potpourri brillant, sur les Thèmes de l'Opera. La Dame Blanche, Part 1; ditto Part 2

132. Variations brillantes sur "Dépechons, travaillons," de l'Opera, Le Maçon; solo and duet: also with Quartett Accompts. ad lib.

133. Introduction et Variations sur la Cavatina de l'Opera, L'Ultimo Giorno di Pompei

134. Impromptu ou Variations sur un Thème de l'Opera, Oberon

135. Variations sur un Thème de l'Opera, Oberon

136. Hommage aux Dames, Repertoire des nouvelles Compositions brillantes.

Book 1. Elegantine, ou Rondeau brillant

2. Rondeau, ou Polonaise, à 4 mains

3. Rondo Concertant pour le Pianoforte et Velle.

137. Allegro affettoso; duet

138. Variations de Concert sur la Marche des Grecs de l'Opera, Le Siège de Corinthe, avec Accomp. de l'Orchestre; ditto with Quartett Accompts.; ditto for Pianoforte solo

139*. One Hundred Exercises in progressive order, and fingered

140. Introduction and Variations on a favorite Air from Das Mädchen aus der Feenwelt

141. Variations on the favorite Duet, "Brüderlein fein;" duet

142. Ouverture pour Grande Orchestre, in C minor

143. Grande Fantaisie en forme de Sonate (ou septième Sonate pour le Pianoforte solo) in E minor

144. Ditto (ou huitième Sonate pour le Pianoforte solo) in E flat

145. Ditto (ou neuvième ditto) in B minor

146. Marcia funebra sulla morte di L. van Beethoven; solo and duet

147. Variations à Capriccio sur deux Thèmes de l'Opera, Oberon, à 4 mains

148. Premier Grand Quatuor pour le Pianoforte, Violon, Viola, et Violoncelle, in C minor

149. Rondoletto Concertant pour le Pianoforte et Flüte avec Violoncelle ad lib. in F

150. Trois Polonaises Sentimentales

151*. Grand Exercise on the Shake

152*. Grand Exercise in all the Keys, major and minor

153. Concerto pour le Pianoforte à 4 mains, avec Accomp. de l'Orchestre, ou de Quatuor, in C; the same without Accompts.

154. Graduale Pastorale, "Hodie Christus natus est," for four Voices, two Violins, Viola, two Hautboys or Clarinets, two Horns, Violoncello, Double Bass, and Organ, in F.

155. Offertorium Pastorale, "Exulta, filia Sion," for four Voices, two Violins, Viola, two Hautboys or Clarinets, two Horns, two Trumpets and Drums, Violoncello, Double Bass, and Organ, in D

156. Belohnung der fleissigen Jugend, three easy Sonatas; duets

157. Der Brand von Maria-Zell, Fantasia in A

158. Book 1, Trois Rondeaux faciles; Book 2, Trois Rondeaux faciles à 4 mains; Book 3, Trois Sonatines faciles instructives et doigtées; Book 4, Trois ditto à 4 mains

159. Rondeau brillant de Bravura, avec Accomp. de l'Orchestre, in A; ditto avec Accomp. d'un Quatuor; ditto pour Pianoforte solo

160*. Introduction, Variations, et Polacca sur "Tu vedrai," avec Orchestre, in D; ditto à 4 mains, avec Orehestre; ditto avec d'un Quatuor; ditto à 4 mains avec Quatuor; ditto pour le Pianoforte solo and duet

161. 48 Etudes en forme de Preludes and Cadences dans tous les tons

162. Fantaisie brillante sur divers Thèmes Suisses et Tiroliens, avec Accomp. de l'Orchestre; ditto avec Accomp. d'un Quatuor; ditto pour le Pianoforte solo and duet

163. Aneiferung zur Bildung der musikalischen Jugend, six easy Sonatinas with fingering; intended to follow any instruction book

164. Quatorzième Rondino sur "Ma quell' amabile" dans Il Pirata, with Quartett Accompts. ad lib.

165. Grand Nocturne brillant pour le Pianoforte à 4 mains avec deux Cors ad lib.

166. Second Grand Trio pour le Pianoforte, Violon, et Violoncelle, in A

167. Sonatina in A

168. Deux Rondeaux, in E flat and B minor

169. Cinquième Rondino sur un Thème de Paganini, with Quartett Accompts. ad lib.

170. Grandes Variations brillantes sur "La Campanella de Paganini," avec Quartett Accompts. ad lib.; ditto à 4 mains; ditto à 4 mains with Quartett Accompts.

171. Fantaisie brillante sur trois Thèmes de J. Haydn, Mozart, et Beethoven

172. Grand Capriccio in C minor

173. Troisième Grand Trio pour Piano, Violon, et Violoncelle, in E

174. Quatorze Ecossaises brillantes, ou Exercices de Bravura

175. Second Décaméron Musical, Recueil de Compositions amusantes, ten Books

176. Second Décaméron Musical, à 4 mains, ten Books

177. Allegro Fugato in Quintetto per due Violini, due Alti, et Violoncello, No. 1, in C minor (in Score); ditto No. 2, in C (in Score)

178. Grand Sonate à 4 mains, in F minor

179. Introduction, Variations, and Polacca on two favorite Airs from Der Alpenkönig und der Menschenfeind, with Quartett Accompt. ad lib.

180. Introduction and Variations on a favorite Air from Der Alpenkönig und der Menschenfeind; solo and duet Ditto for Pianoforte with Quartett Accompts.

ix

Douze Grands Rondeaux Nationaux brillants et caractéristiques,
ou sont introduits les Airs originaux les plus favoris de ces
Nations, savoir :

181. Rondeau National Allemang

182. Anglais et Ecossais

183. Bohème

184. Espagnol

185. Français

186. Hongrois

187. Italien

188. Polonoïs

189. Russe

190. Suedois

191. Suisse

192. Turque

193. Troisième Galoppe, variée

194. Introduction, Variations, and Rondo on two favorite Styrian Alpine Airs; solo and duet; ditto for Pianoforte with Quartett Accompts

195. Seizième Rondino, sur "Ah come rapida," with Quartet Accts. ad lib.

196. Introduction, Variations, and Rondo on "Or che son vicino à te" solo and duet; ditto for Pianoforte with Quartett Accompts.

197. Troisième Fantaisie élégante, ou Potpourri brillant sur Thèmes dans La Muette de Portici.

198. Dix-septième Rondino sur les deux Barcaroles dans La Muette de Portici, with Quartett Accompts. ad lib.

199. Variations sur "Ah! ich stell' du Falsche dir"; solo and duet; ditto for Pianoforte, with Quartett Accompts.

200*. The Art of Improvisation, or School of Extemporaneous Performance

201. Six Rondeaux d'Amusement

202. Introduction, Variations brillantes, et Rondeau de Chasse

203*. Valse Autrichienne, variée

204. Divertissement de Concert, ou Adagio, Variations, et Rondo, avec Accompt. d'Orchestre; ditto with Quartett Accompts.; ditto for Pianoforte solo

205. Impromptú brillant sur un motif à la Rossini

206. Thème Russe, variée

207. Rondoletto sur le Thème Hollandais favori, "Wien Néelands bloed in aders vloeit"

208. Introduction and Variations brillantes sur un Thème dans le Muette de Portici

209. Divertissement brillant et facile

210. Concertino for the Pianoforte, with Orchestral Accompaniment, in C

211. Deux Trios brillants pour le Pianoforte, Violon, et Violoncelle, in C and A

212. Six Grands Potpourris brillants et concertants pour Pianoforte, Violon, et Violoncelle; the same for two Pianofortes concert.

213*. Andante and Rondo, with Orchestral Accompts. in C

214. Premier Grand Concerto, avec Accomp. de l'Orchestre, in A minor; ditto for Pianoforte solo

215. Rondoletto brillant sur plusieurs motifs tirés des Romances Français

216. Rondoletto brillant sur deux motifs de l'Opera, Guillaume Tell

217. Rondeau de Chasse sur "Quelle savage harmonic" dans Guillaume Tell

218. Potpourri brillant sur les motifs de l'Opera, Faust

219. Introduction and Variations sur le Pas de Trois dans Guill. Tell

220. Variations brillantes sur la Tyrolienne ditto

221. Deux Grandes Fantaisies sur les motifs les plus favoris dans Guillaume Tell; No. 1, in E minor; No. 2, in A

222. Impromptú brillant sur un Pastorale de l'Opera, Guill. Tell

223. Variations brillantes sur "Das Wandern ist des Müller's Lust" (F. Schubert; solo and duet; ditto for Pianoforte with Quartett Accompts.

224. Deux Quatuors brillants pour Pianoforte, Violon, Alto, et Violoncelle; No. 1, in F; No. 2, in G

225. Variations brillantes sur la Romance favorite d'Ivanhoe de l'Opera, Templar und Judinn, à 4 mains

226. Fantaisie à 4 mains

Les Pianistes associés, ou Compositions brill. et concert. pour un Pfele. à six mains.

227*. Book 1. Rondeau brill. à 6 mains

228*. Book 2. Vars. brill. sur le thème tyrolien, de l'opera La Fiancée, à 6 mains.

229*. Book 3. Divertissement militaire, à 6 mains.

230. Quatuor Concert. pour 4 Pianofortes in C. Ditto for 1 Pianoforte. Solo and Duett, Orchestral or Quartett Accompts. suitable for either arrangement.

231. Three Rondeaux mignons fac. et brill. sur divers motifs favoris, Solo and Duett.

232. Grandes Vars. di Bravura sur 2 motifs fav. de l'Opera, Fra Diavolo, with Orchestral Accompts. Ditto with Quartett Accompts. Ditto for Pianoforte Solo.

233. Rondeau brill. pour Pianoforte avec Accomp. de 2 Violons, Alto, Violoncelle et Basse, Flute, 2 Clarinets, 2 Bassoons, et 2 Cors, or for Quartett only, in B flat; Ditto for Pianoforte Solo.

234*. Introduction et Vars. brill. sur la marche dans. Gli Arabi nelle Gallie, avec Accomp. de l'Orchestre, ou d'un quatuor. Ditto for Pianoforte S. lo.

235. Huitième Rondino sur un thème d'Auber.

236*. Vars. brill. sur le Petit Tambour, avec Accomp. de l'orchestre. Ditto for Pianoforte Solo.

237. Einzugs Marsch, performed at the opening of the Hungarian Diet. September 13th, 1830. Solo and Duett.

238. March performed on occasion of the coronation of His Imperial Majesty Ferdinand as King of Hungary, Sep. 28, 1830; solo an duett.

239. Fifty Duett Studies for the Pianoforte, fingered.

240. Première Fant. Romantique d'après le Roman Waverley de Sir Walter Scott, à 4 mains

241. Deuxième ditto, Guy Mannering of Sir Walter Scott, à 4 main

242. Troisième ditto, Rob Roy de Sir Walter Scott, à 4 mains

243. Quatrième ditto, Ivanhoe de Sir Walter Scott, à 4 mains

244*. Grand Exercice de la Gamme Chromatique avec toutes les différentes manières du doigté

245*. Grand Exercice de la Gammes en tières et des passages doubles

246. Introd. Vars. et Finale sur un Chœur de l'Opera, Fra Diavolo

247*. Souvenir Theatral. Collection Periodique de fantaisies élégantes sur les motifs les plus favoris des nouveaux opéras

N.B. This Collection amounts to upwards of 50 pieces, each arranged as a solo and as a duet.

248. Introd. et Vars. Concert, sur un Tirolienne, pour pianoforte et Cor. (ou Velle) in F minor

249. Variations on the favorite Charmant Walzer by Strauss

250. Festal March in A

251. Troisième Décaméron Musical, 10 books

252. Ditto, à 4 mains, 10 books

253. Le Golfe de Naples. Tableau Nocturne ou fant. pittoresque

254. Grand Rondeau brill. à 4 mains, in F

255. Rondeau à la Barcarole, in A

256. Fant. concert. pour le Pianoforte, Flute, et Velle. in G

257. Grand Polonaise in C

258. Deux Thèmes Originals Variés

259. Grand Rondeau Militaire et brillante, à 4 mains

260. Rondo per il Pianoforte Solo

261*. 101 progressive Exercises and Supplement to ditto, containing 24 New Studies

262. Trois Quatuors brillante et non difficiles, pour Pianoforte, Violin, Alto, Violoncelle, in C, E flat, and F

263. Vars. précèdés d'une Introd. sur un motif dans La Fiancée

264. Introduzione ed Allegro agitato in G minor, duet

265. Rondeau précédé d'une Introduction

266. Vars. brill. et non difficiles sur une Valse originale, à 4 mains

267. Allegro en Galop in F

268. Grande Sonate d'Etude (No 10 of the Grand Sonatas) in B flat

269. Grand Polonaise brillante, à 4 mains

270. Trois Thèmes originaux, variés

271. La Joyeuse et la Sentimentale—2 Rondos

272. Rondo Palacca

273. Variations sur un Thème de Paganini.

X

274. Souvenir des Contemporains—Trois Rondeaux brillante et fac. sur des motifs favoris de notre tems, solo et duet

275. Trois Thèmes choisis de l'Opera, Robert le Diable

276. Serenade Venetienne, Divertissement Concertant sur une Bar-
carole fav. à 3 voix (Sop. Ten. et Basso), avec des Vars.
brill. pour Pianoforte, Flute, Cor (ou Alto) et Velle. in A.
Ditto for two Pianofortes Concertant

277. Le Chiron Musical, ou Collection des Compositions Instructives, à 4 mains

278. Rondo en Bolero in D

279. Dix-neuvième Rondino sur deux motifs favoris de l'Opera, Zampa

280*. Variations brillantes sur une Marche Anglaise, avec Accomp. de l'Orchestre, in E. Ditto for Pianoforte solo

281*. Variations brillantes sur un Thème de l'Opera, Norma, avec Accomp. de l'Orchestre, in F. Ditto for Pianoforte solo

282. Le Cornet de Postillon, Variations sur un Thème de Rossini.

283. Grand Rondo Brillante, avec Accomp. de l'Orchestre in F. Ditto for Pianoforte solo

284. Vingtième Rondino sur l'air favori de F. Schubert (Das Stänchen) in C

285. Grandes Variations concertantes pour deux Pianofortes, sur un Thème de l'Opera, Montechi e Capuleti, in B flat Ditto for Pianoforte solo with Orchestral Accompaniments ad lib.

286. Grand Rondo brillante avec Accomp. de l'Orchestre in C. Ditto for Pianoforte solo

287. Trois Ariette Italiennes per una voce (Tenore) col Accomp. de Pianoforte

288. Six Divertissements en forme de Rondo

289. Quatrième Grand Trio pour Pianoforte, Violon, et Violoncelle, in A minor

290. La Douceur, Rondo Elegant

291. Grand Rondo à 4 mains

292. Variations brillantes sur un Thème original, in F

293. La Rivalité; Rondo brill. et concert. pour le Piano, à 4 mains.

294. Grand Potpourri pour Pianoforte, Flûte, Violon, Alto, et Violoncelle, in A

295*. Variations brillantes sur un Thème de l'Opera, Montechi e Capuleti, à 6 mains

296*. Polonaise pour un Pianoforte, à 6 mains

297*. Variations brillante sur un Thème de l'Opera, Norma, pour un Pianoforte à 6 mains
(N.B. Ops. 295, 296, 297, form Nos. 4, 5, 6 of Les Pianistes Associés." See Op. 227 and foll.)

298. Troisième Grand Potpourri pour deux Pianofortes à 6 mains

299*. Etude de la Velocité, 30 Exercises

300*. The Art of Preluding, in 120 Examples of Preludes, Modulations, Cadences, and Fantasias of all kinds; forming the Second Part of "The School of Extemporaneous Performance," Op. 200

301. Variations sur une Valse de Reissiger, connue sous le nom de Dernière Pensée de Weber

302. Thème Italien, varié

303. Introduction and Variations brillantes sur un Thème de M. Rudolphe de Vivenot

304. Variations pour le Pianoforte et Violon concert. sur un Thème, Le vieux Tambour, de Lafont, in D

305. Variations pour le Pianoforte et Violon concert, sur un Thème Espagnol, in A

306. Souvenir du Jeune Age, Rondeau sur la Romance favorite de l'Opéra, Le Pré aux Cleres

307. Variations brillantes sur le Chœur final de l'Opéra, Le Serment, à 4 mains

308. Variations sur un Thème original

309. Introduction et Variations concert. pour le Pianoforte, Violon, et Violoncelle, sur le Chœur, "Nargue de la folie," de l'Opéra, Le Pré aux Cleres, in G

310. Variations brillantes sur le Chœur, "Dans cette belle," de l'Opéra, Le Serment

311. Deux Rondeaux, non difficiles, sur des motifs favoris de l'Opéra, Le Pré aux Cleres

312. Variations sur la Ronde, "A la fleur du bel âge," de l'Opéra, Le Pré aux Cleres, à 4 mains

313. Le Jeune Pianiste, deux Sonatines faciles et soigneusement doigtées, Nr. 1 in C, Nr. 2 in G

314. Grande Polonaise brill. pour le Piano et Violon concert. in A

315. Cadences for Beethoven's Concertos, 2 books

316. Dix petits Rondeaux, ou Amusemens utiles et agréables sur des motifs favoris pour la Jeunesse, doigtées

317. Variations on an original Theme, in A

318. Six Graduals, for Soprano, Alto, Tenor, and Bass, with an ad lib. Accompaniment for the Organ or Pianoforte

319. Variations sur une Valse de Robert le Diable

320. Variations sur un Thème de Robert le Diable, à 4 mains

321. Rondo, in B flat; Duet

322. Rondo, in B flat; Solo

323. L'Allegresse, Rondo, in A

324. Variations brillantes sur la Valse favorite de Lanner (Schnell-segler-Walzer)

325*. Trois Fantaisies sur les Thèmes de l'Opéra, L'Elisir d'Amore; Solo and Duet

326*. Trois Thèmes favoris de l'Opéra, Zampa, variés

327*. Trois Fantaisies sur les Thèmes de l'Opéra, Parisina; Solo and Duet

328*. Trois Fantaisies sur les Thèmes de l'Opéra, Il Furioso all' Isola di St. Domingo, de Donizetti; Solo and Duet

329. Variations sur un Thème favori de l'Opéra, Hans Heiling, de Marschner, à 4 mains

330. Tausend Tonblumen

331. Grande Sonate, à 4 mains (Nr. 3 des grandes Sonate à 4 mains), in B flat

332. Variations brill. sur un motif martial de l'Opéra, Robert le Diable

333. Les Elégantes, Variations brillantes; Book 1, sur la Tyrolienne favorite, Almalied; Book 2, sur la Sonnambula; Book 3, sur une Valse favorite

334*. Souvenir de Peste. Variations sur une Valse, Erinnerung an Pest, de J. Strauss

335*. Legato and Staccato Exercises, 2 books

336. Fantaisie sur des Thèmes de l'Opéra, Ali Baba, de Cherubini

337*. Forty Daily Studies

338. Introduction and Variations sur un Thème original, avec Accomp. d'un Orchestre ou Quatuor, in D

339. Three brilliant Fantasias on the most esteemed subjects from F. Schubert's Works, for Pianoforte and Horn, or Violin and Violoncello; ditto as Pianoforte Duets; ditto for Pianoforte and Phryharmonica, or two Pianofortes

340*. Variations on the Pécarnig Walzer, by Strauss

341. Variations brillantes sur un Thème de l'Opéra, Hans Heiling

342*. Trois Fantaisies sur les Thèmes de l'Opéra, Beatrice di Tenda, de Bellini; Solo and Duet

343. Trois Thèmes de l'Opéra, Lestocq, variés, in G, F, C

344. Trois Rondinos sur ditto, in C, A, B

345. Die Ruinen von Neustadt, Fantasia, in D minor

346. Fantaisie sur motifs de l'Opéra, Lestocq

347. Variations sur un Thème de Lestocq, in A

348. Grand Exercice en forme de Fantaisie improvisée, in E minor

349. Trois Sonatines instructives

350. Le dernier Soupir de Herold, Variations sur le Thème de Herold

351. Neujahrsgeschenk, Fantasia

352. Souvenir de Boieldieu, Variations, in B flat

353*. Variations brillantes sur une Valse favorite (Conversations-Walzer)

354. Amusement des Pianistes, Collection de morceaux agréables et brillants, 8 books

355*. The School of Embellishments, Turns and Shakes

356*. Variations brillantes sur le Thème, Vien qua dorina bella

357*. Trois Thèmes Italiens, variés, à 4 mains

358. Duo concertant pour deux Pianoforte, in B flat

359. First Lessons for Beginners, Fifty Exercises, Studies and Préludes, fingered, 2 books

360. Grande Fantaisie sur l'Opéra, Gustave

361. Introduction and Variations brillantes sur un motif favori de l'Opéra, La Médecine sans Médecin

362. Rondino brillant et non difficile sur un motif favori de l'Opéra, La Médecine sans Médecin

["xi", "363. Introduction et Variations sur le Duo favori, \"Suoni la tromba e intrepido,\" de l'Opéra, I Puritani; Solo and Duet", "364. Grand Exercice, in A minor", "365*. Die Schule des Virtusen, or School for Virtuosi, Sixty Studies on Bravura-playing, 4 books", "366. Variations brillantes sur un Thème de l'Opéra, La Princesse de Grenade, de Lobe, pour le Pianoforte, avec Orchestre ou Quatuor ad lib. in C", "367. Rondoletto élégant sur un Thème de l'Opéra, La Princesse de Grenade", "368. Huit Nocturnes pour le Pianoforte, 2 books", "369. Gran Capriccio di Bravura, in F minor", "370. Variations brillantes sur un Thème de l'Opéra, I Puritani", "371. Deux Rondolettos faciles sur des Thèmes de l'Opéra, I Puritani, in D and C", "372. Six Rondeau-Galopes", "373. Dix Rondeaux faciles et doigtés, à 4 mains", "374. Trois Rondeaux pour le Pianoforte et Flüte concertans, in C, D, G", "375. Introduction et Variations brillantes sur un Thème de l'Opéra, I Puritani", "376. Fantaisie et Variations sur un Thème de l'Opéra, I Puritani, à 4 mains", "377. Fantaisie et Variations brillantes sur un Thème de Madame Malibran", "378. Valse brillement, in A flat", "379. Flore théâtrale ou Fantaisies brillantes sur les opéras modernes", "380. Grand Exercise in Thirds, in all the 24 keys", "381. Trois Serenades sur des motifs nouveaux, de Rossini", "382. Deux Fantaisies brillantes sur les motifs de l'Opéra, La Prison d'Édiburg, de Carafa", "383. Trois Fantaisies sur les motifs de l'Opéra, Lucia di Lammermoor", "384. Grandes Variations sur un air de l'Opéra, Le Cheval de Bronze", "385. Douze Rondeaux amusants et instructives sur des Thèmes favoris", "386. Souvenir de Bellini, Fantaisie et Variations sur la dernière pensée de Bellini", "387. Trois Fantaisies sur les motifs de l'Opéra, Lucrezia Borgia", "388. Etudes préparatoires et progressives", "389. Hommage aux Graces, trois Rondeaux sur des Thèmes favoris", "390. Three Sonatines for Pianoforte and Violin concertante", "391. Grande Rondeau-Polonaise pour le Pianoforte avec Orchestre, in E flat", "392. Der Abend und die Nacht, two easy Fantasias", "393. Trois Fantaisies sur les motifs de l'Opéra, Marino Falliero", "394. Fantaisie et Variations sur l'air national Russe, \"Dieu conserve l'Empereur\"", "395. Fantaisie et Variations sur un Thème de l'Opéra, Le Cheval de Bronze, à 4 mains", "396. Impromptu sur le Chœur favori (Chœur de boire) de l'Opéra, La Juive, de Haleyv", "397. Bijoux théâtrals, ou nouvelle Collection de Rondeaux, Variations et Impromptus sur les motifs les plus favoris des nouveaux opéras (a periodical work, many books)", "398. Le Goût moderne, nouveau Recueil de Rondeaux, Variations et Impromptus sur les Thèmes les plus élégans des nouveaux opéras, à 4 mains (a periodical work, many books)", "399*. Ten Grand Studies for the Improvement of the Left Hand", "400*. The School of Fugue-playing, consisting of 24 Grand Studies, intended for the practice of the difficulties peculiar to compositions in many parts", "401. Reminiscences de l'Opéra, La Juive, 4 Divertissements", "402. Encouragement pour la Jeunesse, faciles sur Thèmes favoris, 6 Rondos", "403. Romance en Rondo sur Thème des Huguenots", "404. Introduction et Variations brillantes sur Thème des Huguenots", "405. Rondo, ou Allegro agitato sur Thème original", "406. Festal March, on the opening of the Booksellers' Exchange in Leipzig; Solo and Duet", "407. Scherzo brillante sur Thèmes des Huguenots", "408. Andante sentimental sur Thèmes des Huguenots", "409. Cours de nouvelles Etudes progressives", "410. Six Sonatines faciles", "411. Introduction et Rondo", "412. Trois Rondos brillantes sur Thèmes nationals Russes", "413. Souvenir de mon premier Voyage en Saxe, Fantaisie brillante", "414. Album Musical. Book 1, Rondo élégant", "415. Ditto. Book 2, Rondo militaire", "416. Ditto. Book 3, Rondo gracieux", "417. Rondo brillante sur Thèmes des Huguenots", "418. Impromptu en forme de Rondo, Thème ditto", "419. Huit Rondos faciles sur Thèmes favoris", "420. Soixant Exercices pour les commençances comme supplement pour chaque Methode de Pianoforte", "421. Introduction et Rondo martial sur Thème des Huguenots", "422. Introduction et Rondo brillant sur Thème des Huguenots, à 4 mains", "423. Rondoletto, Thème ditto", "424. Caprice brillant, Thèmes ditto", "425. Rondino scherzando, Thème ditto", "426. Rondo sentimental sur air Anglais, \"Isle of beauty, fare thee well\"", "427. Introduction et Variations brillantes sur Thèmes de Reissiger", "428. Introduction et Variations brillantes sur Thème Suisse", "429. Impromptu brillant sur Thème Suisse", "430*. Nachtwandler, Variations sur Valse de Strauss", "431*. Eisenbahn, Variations sur ditto", "432. Twenty-four Canzonette Italiane per una Voce e Pianoforte", "433. Etudes progressives et preparatoires", "434. Les Quatre Saisons, ou quatre Fantaisies brillantes sur Thèmes originals", "435. Récréations musicales, ou six Mélodies de Bellini, variés", "436. Rondoletto scherzando", "437. Fantaisie brillante sur Thèmes de l'Opéra, La Campanella, de Donizetti; Solo and Duet", "438. Les Progrès du Pianiste, huit Thèmes favoris, variés, dans le style facile", "439. Quatre Sonatines faciles et progressives pour les Elèves", "440. Quatre Mélodies variés", "441. Fantaisie sur l'Opera, Betley, de Donizetti; Solo and Duet", "442. Introduction et Variations brillantes sur Chœur du Pirate", "443. Variations brillantes sur l'Opéra, L'Eclair, de Haleyv", "444. Rondo brillant sur Thème Italien favori", "445. Introduction et Variations sur Thèmes de Beatrice di Tenda", "446. Trois Fantaisies brillantes sur des Thèmes de Mercadante", "447. Introduction et Variations brillantes sur Cavatine favorite, \"Senti tu come io sento\"", "448. Caprice et Variations brillantes sur Thème favori de l'Opéra, Torquato Tasso, de Donizetti", "449*. Improvisation sur Strauss Krönungs-Walzer", "450. Fantaisie lyrique sur Thème Suisse.", "451. Impromptu brillant et militaire sur la Marche favorite du Sultan Mahmoud, de Donizetti", "452. Introduction et grandes Variations sur Thème original", "453. 110 Moreceaux instructives and progressives pour les commençances", "454*. Dix-huit Rondos and Variations, &c.", "455*. Vingt-quatre Variations et Rondos faciles, &c.", "456*. Rondo brillant, \"Son nom\"", "457*. The Spirit's Song, by Shakespeare", "458. Trois Rondinos sur Thèmes de Beethoven", "459*. Five original Quadrilles", "460. Rondo on \"I'm a mountain ranger\"", "461. Trois Morceaux faciles, à 4 mains", "462. Rondo sur Thème de L'Ambassadrice, de Auber", "463. Musikalische Theater-Bibliothek, 24 books", "464. Deux Rondinos brillantes sur Thèmes de l'Ambassadrice", "465. Fantaisie brillante sur motifs de L'Ambassadrice", "466*. Hommage à Beethoven, 6 Rondos", "467*. Fantaisie sur Air Ecossais", "468*. —————— Irlandais", "469. Div

["xiii", "608. Variations brillants sur dernière Pensée de Weber", "609*. The Pianist's Library, 24 very easy pieces, solo, and for 4 and six hands", "610. Rondo élégant", "611. Fantaisie Marine sur Thêmes Italien", "612. Impromptu sentimentale", "613*. School of Expression, in 4 books (on National Airs)", "614. Trois Grandes Fantaisies sur la Vestale, solo and duet", "615. Rondo de Salon", "616. Six Rondos brillante", "617. Variations brillant", "618. Douze Rondos Amusans, à 4 mains", "619*. Variations faciles, March in Blue Beard, solo and duet", "620. Grande Fantaisie sur l'Opera Oberto", "621. Douze Grandes Fantaisies sur l'Opera Christina", "622*. Trois Melodies variées, Les Fleurs d'Angleterre", "623*. Trois Ditto Les Fleurs d'Ecosse", "624*. Trois Ditto Les Fleurs d'Irlande", "625. Six Fantaisies brillantes pour Pianoforte et Violon", "626. Trois Fantaisies brillantes sur Fille du Regiment, solo and duet", "627*. Twelve soft Voluntaries for the Organ", "628. Deux Rondos brillants", "629. Six Rondolettos Amusans", "630*. Grande Fantaisie (Second Irish Fantasia)", "631*. Grande Fantaisie (Second Scotch Fantasia)", "632*. Douze Etudes", "633. Air varié", "634. Ditto", "635. Dix-huit Rondos faciles", "636*. Ecole Preliminaire de Vélocité", "637. Quatre brillantes Fantaisies sur l'Opera Rolla, solo and duet", "638*. Collection de Variations faciles as duets, the Annen Polka with three other Airs", "639. Grand Duet", "640. Ditto", "641*. Fantaisie brillante, Hommage au Prince Albert", "642. Grand Morçeaux de Concert pour Fortepiano", "643. Grande Fantaisie", "644. Ditto", "645*. Fantaisie sur Cimarosa", "646*. Six Grande Marches", "647*. Nocturne in E flat", "648*. L'Impressions dans l'Opera, Six Fantaisies", "649. Variations brillantes", "650. Concertino avec Orchestre", "651. Charmes de la Danse", "652. Deux Grandes Fantaisies sur les Martyrs, solo and duet", "653*. Fantaisie brillante (on English Airs)", "654*. Ditto (Third Irish Fantasia)", "655. Trois Fantaisies brillante sur l'Opera Adelia", "656. Trois Rondos faciles", "657. Six Rondos brillantes", "658. Impromptu sur la Romanesca, à 4 mains", "659*. Grand Fantasia (third Scotch Fantasia)", "660. Rondo de Chasse", "661. Dix Rondolettos", "662. Graduale per Soprano con Coro et Organo", "663. Fantaisie brillante", "664. Ditto", "665. Six Rondos", "666. 6 Rondos brillantes", "667*. Vingt-cinq Tableaux mélodiques", "668*. Fantaisie brillante—Der Freyschutz", "669*. La Mazurka", "670. Douze Ecossaises brillantes", "671. Scherzo", "672*. Vingt-quatre Airs variés, 24 Elegant Studies on Scotch Airs, in 24 books", "673. Deux Rondinos sur Diamans de la Couronne", "674. Fantaisie brillante", "675. Ditto", "676. Ditto sur Diamans de la Couronne", "677. Deux Quadrilles faciles", "678*. Bijoux à la Sontag", "679*. Reminiscences de Rossini, 6 Fantaisies", "680. Variations concertantes, à 4 mains", "681*. Souvenir de Labitzky, 3 Rondinos", "682*. Trois Airs variés", "683*. Mariner's Fantasia", "684*. L'Encouragement à l'Etude, Collection d'Exercices, 24 Irish Airs as Studies, in 24 books", "685. Six Menuets", "686. Grande Sonate pour Pianoforte et Violon", "687*. Trois Pièces fugitives de Salon", "688. Mélodie sentimentale", "689*. Deux Grandes Fantaisies, à 6 mains, on Airs from Norma", "690. Douze Rondinos", "691. Trois Rondos", "692*. Vingt-quatre Grandes Etudes de Salon", "693. Quatre Airs variés", "694*. Etudes pour la Jeunesse, 24 Preludes", "695*. Douze Rondinos", "696*. Cinquante Preludes", "697*. Fantaisie", "698*. Vingt Preludes pour Organe et Pedal", "699. Collection de Rondos brillantes", "700*. Délassement de l'Etude, 12 Rondos faciles", "701. Six Rondinos sur l'Opéra, Duc d'Olonne", "702. Impromptu sur ditto", "703. Fantaisie sur ditto, à 4 mains", "704. Trois Rondos brillantes", "705. Trois ditto", "706*. Twenty-four New Studies on English Airs, 24 books", "707*. Quatre Fantaisies on Scotch and Irish Airs", "708. Quatre ditto sur Linda; Solo and Duet", "709. Dix-huit Rondinos", "710*. Amusement de la Jeunesse, 6 Overtures", "711. Rondino brillant sur La Favorite", "712. Ditto sur Reine de Cypre", "713. Pensée fugitive", "714. Twenty-four Rondinettos", "715. Impromptu orageux", "716. Grand Duo, à 4 mains", "717. Grandes Variations, à 4 mains", "718*. Twenty-four Easy Studies for the Left Hand", "719. Duo pour Pianoforte et Harpe", "720. Trois Morçeaux brillantes", "721*. Cinquante Rondos, La Jeunesse Docile", "722*. Dix petites Fantaisies on Airs from Mercadante's Operas", "723. Six Rondos de Salon", "724*. Fantaisie brillante on Chinese Airs", "725. Trois Rondos", "726. Salve Regina, Offertorio per Coro ed Orchestre", "727*. Douze Etudes à deux Pianofortes", "728. Trois Bluettes de Salon", "729. Panorama, Collection de Morçeaux brillantes", {"bbox": [508, 1049, 663, 1063], "category": "List-item", "text

["xiv", "748*. 25 Studies for small hands (very easy)", "749*. Ditto, (rather more difficult)", "750. Dix Moreaux faciles", "751*. Scale Exercises as Piano duets", "752. Grande Fantaisie sur Thème inédit de Beethoven", "753*. Thirty brilliant Studies", "754. Six Moreaux de Salon", "755. 25 Etudes Melodieux", "756*. 25 Grandes Etudes de Salon (of the highest degree of difficulty)", "757. Offertorio, Soprano solo avec Orchestre", "758. Six Rondos sur l'Opera, Rienzi", "759. Variations sur ditto", "760. \"Ave Maria,\" Offertorie pour Soprano avec Orchestre", "761. Impromptu", "762. Allegro de Salon", "763. Scherzino alla Tarantella", "764. Religion, Poem Allemand pour Tenor solo avec Pianoforte", "765. Etude courrante", "766. Les Guirlandes, Douze Rondinos faciles et brill. sur Thèmes fav.", "767. Fleurs de l'Expression, 50 Etudes", "768. Esercizio Fugato", "769. 48 Rondinos sur Thèmes favoris", "770*. Deux Rondolettos sur l'Opera, Stradella", "771. 24 Rondinos à 4 mains", "772. Deux Rondolettos sur l'Opera, Le Puits d'Amour", "773. Les Premièrs Progrès des Commencans, 6 Rondinos à 4 mains", "774. Deux Fantaisies brillantea sur l'Opera, Euryanthe", "775*. 24 Rondinetto très faciles, solo et duet", "776. Impromptu Fugüé", "777*. Vingt-quatre Morceaux pour les Elèves sur cinq notes (Twenty-four Five-finger Exercises)", "778. Six Rondinos sur l'Opera, Stradella", "779*. L'Infatigables, Grande Etude de Velocité", "780. Première Grande Sinfonie à Grand Orchestre, in C minor (Score)", "781. Seconde Grande Sinfonie à Grand Orchestre, in D major (Score)", "782*. Six Fantasias on Scotch Airs, as duets", "783. Deux Rondolettos sur Thème de l'Opera, Le Domino Noir", "784. De profundos, Chorus, with Accts for a small Orchestra (Score)", "785. Twenty-five Grand Characteristic Studies", "786*. Six Fantasias on Irish Themes, as duets", "787. Galop brilliant", "788. Sonata dans le style de Domenico Scarlatti", "789. Scherzino", "790. Musicalisches Wochenblatt (Collection of easy Compositions, 52 Numbers in the year)", "791. Fleurs melodiques, 12 Pieces de differens caractères", "792. 36 Etudes melodiques et progressives", "793. Morceau d'Album pour le Piano", "794. Le Plaisir du jeune Pianiste. Choix de 160 Morceaux pour les élèves", "795. 8 Morceaux de Salon de differens caractères", "796. Fantaisie sur l'Ode-Sinfonie Columbus de David, Pf. Solo and Duett", "797. 10 Grandes Fantaisies Concertantes pour 2 Pianos", "798. 6 Divertimentos à 6 mains", "WORKS IN MANUSCRIPT.", "1. Four Grand Symphonies; 1, C major; 2, D minor; 3, E flat major; 4, B major", "2. Six Quartetts for two Violins, Alto, and Violoncello", "3. Eleven Solemn Masses for Voices and Orchestra", "4. One Hundred and Six Offertories and Graduals for ditto", "5. Two Te Deums for ditto", "6. A Collection of Cantatas for ditto", "7. Six Grand Overtures for Full Orchestra", "8. A Collection of Choruses with Orchestra", "9. A Grand Quartett for Pianoforte, Violin, Viola, and Violoncello", "10. Two Grand Trios for Pianoforte, Violin, and Violoncello", "11. A Grand Sonata (the 12th) for Pianoforte solo", "12. Some Compositions for Pianoforte solo and with various Accompts.", "OTHER PUBLISHED WORKS.", "1*. Ten Letters addressed to a young Lady on the Art of Playing on the Pianoforte", "2*. Letters on Thorough Bass, with an Appendix on the higher branches of musical execution and expression", "3*. Thirty-two new Exercises on Harmony and Thorough Bass", "WORKS EDITED BY CARL CZERNY.", "ANT. REICHA's Theoretical Works on Harmony, Melody, Counterpoint, and Dramatic Composition; translated from the original French, and accompanied with numerous Remarks and additional Examples, by C. Czerny; five vols. folio*.", "A. E. MÜLLER's \"Grosse Fortepianoschule,\" eighth edition, with many new Examples and complete Appendix on Thorough Bass, by C. Czerny", "----------------- \"Kleines Elementarbuch für Klavierspieler,\" new edition, with additions by C. Czerny", "J. PLEYEL's \"Klavierschule,\" newly arranged and augmented with additional Exercises, by C. Czerny", "*J. S. BACH's Pianoforte Works", "D. SCARLATTI's ditto", "WORKS ARRANGED BY CARL CZERNY.", "* Haydn's Creation, for Pianoforte solo and duet", "______ Seasons, ditto ditto", "______ Seven Words, ditto ditto", "______ Handel's Messiah, ditto ditto", "______ Beethoven's Mount of Olives, ditto", "______ First Mass, ditto", "______ Der Gerreiche Augenblick oder Preis der Tonkunst, for Pianoforte solo and duet", "Cherubini's Fourth Mass, ditto", "* Rossini's Stabat Mater, ditto", "Many single Pieces from Handel's Works, ditto", "Beethoven's Symphonies (complete) as duets", "*Mozart's Six Symphonies, for Pianoforte solo and duet", "* Haydn's Twelve Symphonies, ditto, with Flute, Violin, and Violoncello Accompaniments ad lib.", "Spohr's Symphony (\"Weile der Töne\") duet", "______ Ditto (\"Die Zeitalter\") duet", "Symphonies by Feska and Maurer, duet", "A Collection of upwards of Fifty Overtures by Mozart, Cherubini, Beethoven, Mehul, Weber, &c. &c. as duets", "All Beethoven's Overtures, as solos and duets", "Mozart's Don Juan, complete (with the voice parts)", "Boieldieu's Dame Blanche, duet", "Donizetti's Maria di Rohan. solo and duet", "Besides many Overtures by Donizetti, Bellini, Berlioz, &c. &c.", "Beethoven's Trio, Op. 97, as Pianoforte duet", "______ Sonata, Op. 47, as Pianoforte duet and solo", "______ Sonata, Op. 22, as Pianoforte duet.", "Many of the lesser Works by Beethoven, as Marches, Rondos, &c. for Pianoforte solo and duet", "Mayseder's second Quintett, for Pianoforte solo and duet, also as a trio", "Many Variations, Rondos, and other Works by Mayseder, for Pianoforte solo and duet", "Most of the Songs of Mendelssohn and Kucken, and many of those by Schubert, &c. for Pianoforte solo and duet", "Schubert's best Songs for Pianoforte solo in the brilliant style", "Mendelssohn's \"Lieder ohne Worte,\" six books, all as solos and duets, also a Violin or Violoncello part composed to them", "______ Concerto in D minor, as a Pianoforte duet", "All Mendelssohn's lesser Pianoforte Works as duets", "Thalberg, many Fantasias, &c. as duets", "Liszt, ditto ditto", "Döhler, ditto ditto", "L. v. Meyer, ditto ditto", "