Carl Czerny and a walk in an English garden
Carl Czerny (1791-1857)
Systematische Anleitung zum Fantasieren auf dem Pianoforte, Op.200
(Vienna, 1829)​​
English translation by Alice L. Mitchell
Improvising is also enticing to the listener, for there can prevail therein a sense of freedom and ease in the connection of ideas, a spontaneity of execution that one does not find in works that are composed, (even when they are designated as fantasies). If a well written composition can be compared with a noble architectural edifice in which symmetry must predominate, then a fantasy well done is akin to a beautiful English garden, seemingly irregular, but full of surprising variety, and executed rationally, meaningfully, and according to plan.
Systematische Anleitung zum Fantasieren auf dem Pianoforte, Op.200, p. 2.
Carl Czerny, lithographie by Josef Kriehuber, 1828
Carl Czerny (1791–1857) was an Austrian composer, pianist, and teacher renowned for his influential contributions to piano pedagogy. A student of Beethoven and the teacher of Franz Liszt, he served as a vital link in the pianist–composer tradition.
In his treatises, Czerny articulated his ideas on improvisation, emphasizing the importance of stylistic understanding and technical mastery. His pedagogical works feature numerous exercises designed not only to strengthen pianistic technique but also to cultivate the art of improvisation.
His most extensive work Systematische Anleitung zum Fantasieren auf dem Pianoforte, Op.200 contains the introduction to following formats:
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preluding (pp. 5-21)
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cadenzas and fermatas (pp. 22-35)
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improvisation on a single theme (pp. 36-62)
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free fantasia (pp. 63-74)
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potpourri (pp. 75-93)
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variations (pp. 94-103)
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improvisation in strict and fugal style (pp. 100-104)
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capriccio (pp. 105-110)
A full overview of selected publications on improvisation:
Preludes, Cadences, and a Short Fantasia in a Brilliant Style, Op. 61 (Vienna, 1824?)
48 Etudes en forme de Préludes et Cadences, dans tous les tons majeurs et mineurs, Op. 161 (Leipzig, 1829)
Systematische Anleitung zum Fantasieren auf dem Pianoforte, Op.200 (Vienna, 1829)
Die Schule der Praktischen Tonsetz Kunst Op. 600 (vol.1) (Vienna, 1830), chapter 11 & 17
The Art of Preluding, Op. 300 (Vienna,1833)
Cadenzen zu Ludwig van Beethovens Concerten, 2 Bde., Op. 315 (Vienna, ca. 1833)
Die Schule der Verzierungen, Vorschläge, Mordenten und Triller, Op. 355 (Vienna, 1835)
The School of Fugue Playing, Op.400 (Vienna, 1837)
Pianoforte-Schule, Op.500 (vol.3) (Vienna, 1839), pp. 84-92​​
Briefe über den Unterricht auf dem Pianoforte (Vienna, 1839), pp. 78-82
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LETTER TO A STUDENT (Briefe über den Unterricht auf dem Pianoforte (Vienna, 1839), pp. 78-82)
A short pedagogical letter from Carl Czerny to one of his students, explaining the principles, practice, and mindset required for successful improvisation at the piano. In it, Czerny offers general guidance and encourages the student to cultivate technical fluency, harmonic knowledge, and daily improvisational practice.​​​
Full text letter 10
German / English
TO READ
Michael Lehner. Und nun sehe man, was hieraus gemacht werden kann‹: Carl Czernys Anleitung zum Fantasieren als implizite Harmonie- und Formenlehre in Das flüchtige Werk: Improvisation und die Rhetorik des Anfangens, ed. Rolf Buhre et al. (Bern: Hochschule der Künste Bern, 2008), pp. 521–541.