Editing Carl Czerny (section)

===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>