Czerny's interpretation of Beethoven's piano sonatas

The teaching of Carl Czemy was influential in the first half of the nineteenth century. His \nComplete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying \nthe Ancient and Modern Piano Forte Works, are especially relevant to the performance of \nBeethoven's piano sonatas. Much of the information in this monumental treatise reveals how \nBeethoven would have performed his sonatas. His pedalling techniques, for example, are similar \nto those described in Czerny's treatise. Although The Art was published in 1846, some of the \nideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing \na. certain consistency over a period of about twenty years. Most of Czemy's teaching on the \nperformance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from \nBeethoven's own practice. However, he sometimes altered Beethoven's directions because he \nconsidered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because \nthey did not conform to contemporary performing styles, or simply because they did not suit the \nmore resonant pianos of his day.