Editing Carl Czerny (section)

==Legacy ==
===Influence===
[[File:Carl-Czerny-piano-heritage-tree.jpg|thumb|"Czerny, the forefather of Pianoforte Technic", illustration from ''[[The Etude]]'' magazine, April 1927]]

Czerny can be considered as a father of modern piano technique for generations of pianists, when it is taken into account that many of his students, such as [[Theodor Leschetizky]], [[Franz Liszt]] and [[Theodor Kullak]], also became teachers and passed on his legacy. The US music magazine ''[[The Etude]]'' presented in its issue of April 1927 an illustration (see above) showing how Czerny could be considered the father of modern piano technique and the basis of an entire generation of pianists. This list can be extended to the present day: examples of 'descent' are:
* [[Wanda Landowska]]: pupil of [[Moritz Moszkowski]] ← Theodor Kullak ← Czerny;
* [[Sergei Prokofiev]]: pupil of [[Anna Yesipova]] ← Theodor Leschetizky ← Czerny;
* [[Claudio Arrau]]: pupil of [[Martin Krause]] ← Liszt ← Czerny;
* [[Ernő Dohnányi]]: pupil of [[István Thomán]] ← Liszt ← Czerny;
* [[Georges Cziffra]]: pupil of [[István Thomán]] ← Liszt ← Czerny;
* [[Daniel Barenboim]]: pupil of [[Edwin Fischer]] ← Martin Krause ← Liszt ← Czerny;
* [[Van Cliburn]]: pupil of Rildia Bee Cliburn ← Arthur Friedheim ← Liszt ← Czerny; 
* [[Sergei Rachmaninoff]]: pupil of [[Alexander Siloti]] ← Liszt ← Czerny;
* [[Leon Fleisher]]: pupil of [[Artur Schnabel]] ← Theodor Leschetizky ← Czerny;
Czerny wrote an essay on the correct performing of the piano sonatas of Beethoven, "On the Proper performance of all Beethoven's works for piano" (1846). [[Johannes Brahms]] wrote about it to [[Clara Schumann]] in a letter of March 1878: "I certainly think Czerny's large pianoforte course Op. 500 is worthy of study, particularly in regard to what he says about Beethoven and the performance of his works, for he was a diligent and attentive pupil&nbsp;... Czerny's fingering is particularly worthy for attention. In fact I think that people today ought to have more respect for this excellent man"<ref name="ReferenceA">Letters of Clara Schumann and Johannes Brahms, ed. Berthold Litzmann, 2 vols. New York: Longamnn, Green, 1927; rep., New York: Vienna House, 1973</ref> In a letter written to [[Otto Jahn]] of 30 October 1852, Liszt wrote: "In the twenties, when a great portion of Beethoven's creations was a kind of Sphinx, Czerny was playing Beethoven exclusively, with an understanding as excellent as his technique was efficient and effective; and, later on, he did not set himself up against some progress that had been made in technique, but contributed materially to it by his own teaching and works."<ref name="Vienna 1852">Autograph in the Liszt archives of the Musik-Verein in Vienna.</ref>

Czerny had an influential role in defining the [[canon (basic principle)|canon]] of [[classical music|classical]] piano repertoire. Volume 4 (1847) of his ''Theoretico-Practical Piano School'' listed what he considered to be the most important piano works of the previous eighty years, including works of Mozart, Clementi, Chopin, Schumann, Liszt, Schubert, Mendelssohn, and works of his own.<ref>Rowland (1998), pp. 125–126.</ref>

===Reputation===
From Czerny's death until the end of the 20th century, negative views about his work have predominated. [[Robert Schumann]] in the ''[[Neue Zeitschrift für Musik]]'' (New Musical Gazette), said of Czerny's op. 424: "It would be difficult to find a failure of imagination greater than that of Czerny."

Liszt included several Czerny compositions in his repertoire and also dedicated his twelve ''[[Transcendental Études]]'' to Czerny. He also collaborated with Czerny on the ''[[Hexameron (musical composition)|Hexaméron]]''. But even Liszt suggested, in an 1852 letter to [[Otto Jahn]]: "It is ... a pity that, by a too super-abundant productiveness, he has necessarily weakened himself, and has not gone on further on the road of his first Sonata (Op. 7, A-flat major) and of other works of that period, which I rate very highly, as compositions of importance, beautifully formed and having the noblest tendency."<ref name="Vienna 1852"/> In "Men, Women and Pianos"  [[Arthur Loesser]] describes Czerny's music as "without depth, intensity, or wit, but always smooth and pretty and rather ear-tickling when played fast&nbsp;... endless variety of patterns and endless monotony of import."<ref>Loesser (1990), p. 145</ref>

More positive views have been offered by musicians such as [[Anton Kuerti]],<ref>Kuerti (1997).</ref> Brahms,<ref name="ReferenceA"/> and [[Leon Botstein]].<ref>Botstein (2004)</ref> [[Igor Stravinsky]] wrote about his admiration for Czerny also as a composer: "As to Czerny, I have been appreciating the full-blooded musician in him more than the remarkable pedagogue."<ref>in ''Chronique de ma vie'', {{ISBN|978-2-207-25177-5}})</ref>