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    "source_title": "Encyclopaedia Britannica (1911)",
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    "chunk_id": "1911:czerny:6b2d1573545e",
    "title": "CZERNY",
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    "verified_text": "czerny, karl (1791-1857), austrian pianist and composer, was born at vienna on the 21st of february 1791. his father, who was a teacher of the piano, trained him for that instrument from an early age with such success that he performed in public at the age of nine, and commenced his own career as a teacher at fourteen. he was brought under the notice of beethoven, and was his pupil in the sense in which the great master had pupils. it is perhaps his greatest claim to distinction as a performer that he was selected to be the first to play beethoven's celebrated emperor concerto in public. he soon became the most popular teacher of his instrument in a capital which abounded in pianists of the first rank. among his pupils he numbered liszt, theodor dohler (1814-1843) and many others who afterwards became famous. as a composer he was prolific to an astonishing degree, considering the other demands on his time. his works, which included every class of composition, numbered 849 at the time of his death. comparatively few of them possess high merit, and none is the production of genius. he had considerable skill in devising variations for the piano of the display type, and in this and other ways helped to develop the executive power which in the modern school of pianoforte playing seems to have reached the limits of the possible. his various books of exercises, elementary and advanced, of which the best known are the _etudes de la velocite_, have probably had a wider circulation than any other works of their class. to the theory of music he contributed a translation of reicha's _traite de composition_, and a work entitled _umriss der ganzen musikgeschichte_. czerny died on the 15th of july 1857 at vienna. having no family, he left his fortune, which was considerable, to the vienna conservatorium and various benevolent institutions. d the fourth letter in the english alphabet occupies the same position in the latin, greek and phoenician alphabets, which represent the preceding stages in its history. the phoenician name _daleth_ is represented by the greek _delta_. in form d has varied throughout its career comparatively little. in the earliest phoenician it is [symbol] with slight variations; in most greek dialects [symbol] which has been adopted as the greek literary form, but in others as e.g. the earliest attic [symbol] or [symbol]. the form with the rounded back, which has passed from latin into the languages of western europe, was borrowed from the greeks of s.w. italy, but is widely spread also amongst the peoples of the peloponnese and of northern greece. it arises from a form like [symbol] when the sides which meet to the right are written or engraved at one stroke. from a very early period one side of the triangle was often prolonged, thus producing a form [symbol] which is characteristic of aramaic from 800 b.c. in greek this was avoided because of the likelihood of its confusion with [symbol], the oldest form of the symbol for _r_, but in the alphabets of italy--which were borrowed from etruscan--this confusion actually takes place. etruscan had no sound corresponding to the symbol d (in inscriptions written from right to left, [symbol]), and hence used it as a by-form for [symbol], the symbol for _r_. the oscans and umbrians took it over in this value, but having the sound d they used for it the symbol for _r_ ([symbol] in umbrian, [symbol] in oscan). the sound which d represents is the voiced dental corresponding to the unvoiced _t_. the english _d_, however, is not a true dental, but is really pronounced by placing the tongue against the sockets of the teeth, not the teeth themselves. it thus differs from the _d_ of french and german, and in phonetic terminology is called an alveolar. in the languages of india where both true dentals and alveolars are found, the english _d_ is represented by the alveolar symbol (transliterated _d_). etymologically in genuine english words d represents in most cases _dh_ of the original indo-european language, but in some cases an original _t_. in many languages _d_ develops an aspirate after it, and this _dh_ becomes then a voiced spirant (eth), the initial sound of _there_ and _that_. this has occurred widely in semitic, and is found also in languages like modern greek, where [delta], except after [nu], is always spirant, [greek: den] (= _not_) being pronounced like english _then_. as the mouth position for _l_ differs from that for _d_ only by the breath being allowed to escape past one or both sides of the tongue, confusion has arisen in many languages between _d_ and _l_, the best-known being cases like the latin _lacrima_ as compared with the greek [greek: dak-ry]. the english _tear_ and the forms of other languages show that _d_ and not _l_ is the more original sound. between vowels in the ancient umbrian _d_ passed into a sound which was transliterated in the latin alphabet by _rs_; this was probably a sibilant _r_, like the bohemian _r_. in many languages it is unvoiced at the end of words, thus becoming almost or altogether identical with _t_. as an abbreviation it is used in latin for the _praenomen_ decimus, and under the empire for the title _divus_ of certain deceased emperors. as a roman numeral (= 500) it is only the half of the old symbol [symbol] (= 1000); this was itself the old form of the greek [phi], which was useless in latin as that language had no sound identical with the greek [phi]. (p. gi.)",
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