Practising the Piano

Now the focus: Czerny had the following students:
Theodor Leschetizky Cited in this book
Theodor Kullak
Theodor Döhler
Stephen Heller
Sigismond Thalberg
Anton Door
Alfred Jaëll
Alfreds Kalninš
Anne Caroline de Belleville
Anna Caroline Oury
Leopold von Meyer
Franz Liszt

Note that, except Liszt, most of them, are the guys who are going to write the later piano methods in the history of music.
Therefore, who did not waste time with piano methods, played or composed better, had their energies channeled to more important things, focus on something.

Kullak was Professor of Moszkowski who was professor of the great harpsichordist 'Wanda Landowska'. Kullak is responsible for warning that Beethoven was greatly adulterated by D'Albert and Hans von Büllow.

Leschetizky was professor and later husband of ', Annette Essipof', later she taught the great Russian 'Sergei Prokofiev'.
Leschetizky also taught 'Ignaze Paderewsky' who was Professor of Russian 'Arthur Rubistein.

Liszt was professor of the great 'Martin Krause' who was a teacher of ex-Chilean 'Claudio Arrau' and other great pianists like 'Edwin Fisher' who ends up teaching piano for the ex- Argentinian 'Daniel Barenboim'.

Rachmaninoff was an indirect pupil of Czerny, because Liszt taught 'Moriz Rosenthal' who published the 'School of Modern Pianoforte Virtuosity' method that was passed to his pupil 'William Mason' who also wrote his method: "A method for the piano forte" and taught 'Emil von Sauer', who taught 'Eugen d'Albert' and also was pupil of 'Liszt' and whose 'd'Albert' was a teacher of Alexander Siloti, who ends up teaching a boy who, doesn't did well as a pianist and was his 10 years younger cousin 'Rachmaninoff', better write: 'RachmaninoV', whom luckily turns out to be a composer.

The THESIS.
The thesis is as follows, most of them were born almost in the midst of the 19th century and wrote methods for piano technique only after 1850, when most of the great piano composers had already died.

Therefore, we may consider that his methods are a brief synthesis of what the teaching of the piano was, before them.

It should be noted that most of them who wrote methods, were never great names in music, but most of them are just remembered by the methods they have written.

For example, the great Czerny, it seems that he took so much time to understand how the piano keypad worked, that he did not write music that would enter into history, he spent so much time writing methods, that his musical pieces aren't to be desired. The same goes for 'Kullak', 'Heller', 'Thalberg', who wrote famous piano methods that we use until today, but the studies do not have a beautiful musical sound, they are technical exercises that annoy a lot of people.

It is incredible that before all them, 'Chopin' wrote many piano studies, which are very musical, has a very beautiful sonority, and contains elaborate and melodic exercises inside them, or even Liszt's in his 'Transcendental Studies' that he devotes to Czerny himself.
That is, you can't understand or compare backsliding.

In my opinion, they have drifted, wasted time writing methods, which are neither the basis of the piano nor in China.
Another one I could cite, is the too late in 1873 published; 'Hanon' , which is one of the most famous piano methods in the world, but, it does not build pianists and may even cause irreversible damage. That is, Hanon is really not responsible for the well-played piano throughout all the baroque, classicism and romanticism.
Beware of idiot books like: Hanon Jazz, Hanon Blues, Hanon Rock, because at the end of 5 years you just do it, while could have done at least 200 useful songs, because of brain endorphin and dopamine.

So, be very careful with piano methods. Trustable: Czerny and Kullak. My big tip is it.