Czerny is commonly thought of as embodying the worst aspects of the 19th-century: mechanical piano virtuosity stemming from the separation of art and technique. However, to turn up one’s nose at his piano studies and School of Velocity is not only implausible but also historically unjust. Among the printed works, the lion’s share – almost 500 works – is made up by occasional pieces, that is to say, piano paraphrases for domestic use of works from concert hall and opera. The technical compositions for piano and educational purposes in fact make up only about 10% of the total printed works. Approximately 300 works are in the ‘serious style’, comprising sacred works, chamber music and symphonic compositions of high artistic merit.