more to Czerny, op. 300

Among the 121 preludes in Carl Czerny's op. 300 are several that play very directly to rising gestures and follow through into the design of the whole. No. 30 uses the same broad schema as no. 15 (discussed in the preceding post)--a line from ^3 to ^8--but clothes it in rapid scale and octave figures. The first half takes F# up to D but does not close the cadence; instead it starts over with broken octaves and then concludes with a stereotyped short cadenza that carries ^5, ^6, and ^7 up to close on ^8. This "freeing of the ^6" is one of the most characteristic and distinctive figures in 19th century music, especially in the first half of the century.