Burgmuller, Czerny and Hanon: 32 Piano Studies Selected for Technique and Musicality.

by Ingrid Jacobson Clarfield. Aljged Publishing Co., Inc. (16320 Roscoe Blvd., 17.0. Box 10003, Van Nuys, CA 91410-0003), 2001.

The importance and practicality of teaching etudes to develop the young musician cannot be stressed enough. In these pieces, the teacher can find exercises to address phrasing, voicing, pedaling and rhythmic issues. Although we are fortunate as pianists to have such a wealth of material to draw upon, it can be overwhelming to create a sequence of etudes that will allow the student to develop in a logical order. This publication, compiled and edited by Ingrid Jacobson Clarfield, uses this dilemma to create a useful and satisfying solution.

The pieces are selected from three of the most important compendiums dedicated to the piano etude--Burgmuller's 25 Progressive Pieces, Op. 100, Czerny's Practical Methods for Beginnners on the Piano, Op. 599, and Hanon's The Virtuoso Pianist. Organized by difficulty into units consisting of eight pieces, each unit also emphasizes different aspects of technique and musicianship as it pertains to melody and accompaniment playing in the following arrangements: Unit 1 deals with melodic shaping and projection, and accompaniments of solid, broken and repeated chords; Unit 2 works to develop clarity in right-hand and left-hand melodies with sixteenth notes and slurs, in addition to voicing of more complex accompaniments; Unit 3 focuses on voicing triplet and double-third melodies, as well as shaping and voicing single-note and broken-chord accompaniments; and Unit 4 develops clarity of right-hand and left-hand melodies in sixteenth notes, double thirds, sixths and chords, shaping and voicing accompaniments in varied patterns and articulations.

Incorporating Hanon exercises in each unit reinforces the need for finger strength, independence and agility. An excellent addition of "Practice Alternatives" for these exercises, including ideas for variation of dynamics, touch, articulation, rhythmic patterns and even hand crossing and transposition (for the more brave students), provides a good model for developing students' creativity in practicing passagework in their own pieces as well as in their exercises.

Editorial additions have been limited to dynamic indications in the Czerny, dynamics for balance and phrase shaping in the Burgmuller, and useful fingerings are provided throughout to emphasize musical control while facilitating the technical element. Tempo markings are provided in a wide range for different interpretations (although allegro moderato is the common indication given by the composer), while pedaling suggestions also are added to enhance the musical element.

Each piece has brief reminder notes for practice at the top of the page, although most suggestions will need to be explained at the lesson to achieve the desired result. Many of the favorite Burgmuller pieces are included here, such as Angel's Voices and Tarantelle. The prominence of the key of C major may become tiresome, although it can provide a good opportunity for transposition practice.

This is an excellent resource for the early-intermediate student to develop the many important musical and technical facets encountered in the repertoire at this level. The careful planning and selection of pieces by Ms. Clarfield from the vast collections available result in a smooth pedagogical progression throughout the book that is both logical and varied in musical material. Reviewed by Christopher Hahn, Norman, Oklahoma.