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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 See also:

NOTICE

notice of See also:

BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven, and was his See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil in the sense in which the See also:

GREAT

great See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master had pupils. It is perhaps his greatest claim to distinction as a performer that he was selected to be the first to See also:

PLAY

play Beethoven's celebrated See also:

EMPEROR (Fr. empereur, from the Lat. imperator)

Emperor See also:

CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto in public. He soon became the most popular teacher of his instrument in a See also:

capital which abounded in pianists of the first See also:

RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank. Among his pupils he numbered See also:

LISZT, FRANZ (1811-1886)

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 See also:

time. His See also:

WORKS

works, which included every class of See also:

composition, numbered 849 at the time of his See also:

DEATH

death. Comparatively few of them possess high merit, and none is the See also:

PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of See also:

GENIUS (from Lat. genere, gignere)

genius. He had considerable skill in devising See also:

variations for the piano of the display type, and in this and other ways helped to develop the executive See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power which in the See also:

MODERN

modern school of See also:

PIANOFORTE (Ital. piano, soft, and forte, loud)

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 See also:

MUSIC

music he contributed a See also:

TRANSLATION

translation of See also:

REICHA, ANTON JOSEPH (1770-1836)

Reicha's Traite de composition, and a See also:

WORK

work entitled Umriss der ganzen Musikgeschichte.

Czerny died on the 15th of See also:

JULY

July 1857 at Vienna. Having no See also:

FAMILY

family, he See also:

LEFT

left his See also:

FORTUNE, ROBERT (1813-188o)

fortune, which was considerable, to the Vienna Conservatorium and various benevolent institutions. D The See also:

FOURTH

fourth See also:

LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter in the See also:

ENGLISH

English See also:

ALPHABET (see also WRITING)

alphabet occupies the same position in the Latin, See also:

Greek and Phoenician alphabets, which represent the preceding stages in its See also:

HISTORY

history. The Phoenician name Daleth is represented by the Greek See also:

DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

Delta. In See also:

FORM (Lat. forma)

form D has varied throughout its career comparatively little. In the earliest Phoenician it is Q with slight variations; in most Greek dialects Q which has been adopted as the Greek See also:

LITERARY

literary form, but in others as e.g. the earliest See also:

ATTIC (i.e. "in the Attic style ")

Attic d or Q. The form with the rounded back, which has passed from Latin into the See also:

LANGUAGES

languages of western See also:

EUROPE

Europe, was borrowed from the Greeks of S.W. See also:

Italy, but is widely spread also amongst the peoples of the Peloponnese and of See also:

NORTHERN

northern See also:

GREECE

Greece. It arises from a form like D when the sides which meet to the right are written or engraved at one stroke. From a very early See also:

period one See also:

side of the triangle was often prolonged, thus producing a form q which is characteristic of Aramaic from 800 B.C. In Greek this was avoided because of the likelihood of its confusion with q, the See also:

OLDEST

oldest form of the See also:

SYMBOL (Gr. o-uµ(3oXov, a sign)

symbol for r, but in the alphabets of Italy—which were borrowed from Etruscan—this confusion actually takes See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place. See also:

ETRUSCAN

Etruscan had no See also:

sound corresponding to the symbol D (in See also:

INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions written from right to left, Cl ), and hence used it as a by-form for q, 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 (q in Umbrian, 51 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 See also:

TONGUE (O. Eng. lunge)

tongue against the sockets of the See also:

TEETH (O.E. Eel); plural of tooth, O.E. top)

teeth, not the teeth themselves. It thus differs from the d of See also:

French and See also:

German, and in phonetic terminology is called an alveolar. In the languages of See also:

India where both true dentals and alveolars are found, the English d is represented by the alveolar symbol (transliterated (1). Etymologically in genuine English words d represents in most cases dh of the See also:

ORIGINAL

original Indo-See also:

EUROPEAN

European See also:

LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

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 (6), the initial sound of there and that. This has occurred widely in Semitic, and is found also in languages like modern Greek, where 6, except after v, is always spirant, Sip (=not) being pronounced like English then. As the mouth position for 1 differs from that for d only by the breath being allowed to See also:

ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape past one or both sides of the tongue, confusion has arisen in many languages between d and 1, the best-known being cases like the Latin lacrima as compared with the Greek 66c-pv. The English See also:

TEAR

tear and the forms of other languages show that d and not 1 is the more original sound. Between vowels in the See also:

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 t. In many languages it is unvoiced at the end of words, thus becoming almost or altogether identical with t.

As an See also:

ABBREVIATION (Lat. brevis, short)

abbreviation it is used in Latin for the praenomen Decimus, and under the See also:

EMPIRE

empire for the See also:

TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title Divus of certain deceased emperors. As a See also:

ROMAN

Roman See also:

NUMERAL (from Lat. numerus, a number)

numeral (= Soo) it is only the See also:

HALF

half of the old symbol m (= woo); this was itself the old form of the Greek 4', which was useless in Latin as that language had no sound identical with the Greek 0: (P.

End of Article: CZERNY, KARL (1791–1857)

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