Chopin composed this set of etudes for the Méthode des methods, a publication of Ignaz Moscheles, a leading pianist and composer of his day who was not always in agreement with Chopin's compositional techniques, and rançois-Joseph Fétis, a now largely forgotten Belgian musicologist. The three pieces here are interesting but not especially innovative by Chopin's standards. That observation, however, must not be taken to mean the three etudes are lesser creations or feed on past formulas. Indeed, they are each brimming with ideas and do not contain a single dull note.

The first two etudes here focus on cross-rhythms. The First is in F minor and starts off hesitantly, then launches headlong into a dark, intense world that augurs the gloomy moods in some of Rachmaninov's early piano works. Just after the opening this etude's different rhythmic patterns emerge clearly, each hand sounds its notes and weaves them into a multicolored fabric that grows more anxious and restless as the music proceeds. The tortured longing ends and the mood tempers to a quiet but otherworldly view of its opening theme.

The second etude, in A flat major, while also devoted to the same kind of rhythmic aspects of the keyboard, takes the listener to an entirely different world. Its character is brighter, its demeanor calmer, and its thematic shifts—from the right hand in the lovely main theme to the left in the mellow alternate one—deftly conceived and utterly ingenious. The left hand presents the counter rhythm in the outer sections, while the right accompanies in like manner in the middle section, each transition managed seamlessly: indeed, the right hand plays much the same music in its accompanimental role. Once again Chopin heralds Rachmaninov—most noticeably in the middle section—but now a happier and more tranquil Rachmaninov.

The Third Etude, in D flat major, examines the mixture of legato and staccato playing. It is a lively but unhurried piece whose playfulness and jaunty gait are highlighted by the staccato character of much of the writing. This is the lightest of the three etudes in the set, and though its mood is generally bright, it has a slightly detached character. In the end, this etude probably must rank below its siblings, though it is still an effective piece.

Each of the three etudes has a duration of about two minutes, or slightly less. The second often runs a bit longer than the other two in some performances.

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No.1 in F-

Chopin was commissioned to write the so-called Trois nouvelles etudes (Three new studies) for the publication Méthode des méthodes, issued by virtuoso pianist and composer Ignaz Moscheles (who was far from a Chopin supporter) and François-Joseph Fétis, the eminent Belgian musicologist. After composing the Trois nouvelles etudes, Chopin would never again return to the etude form. This first of the trio, in F minor, is a study in cross rhythms. It begins slowly and mysteriously, gathering some momentum as it progresses, but never casting off its dark, somber character. Near the beginning of the piece, the different rhythmic patterns in each hand emerge, the right also carrying the main thematic material. While two distinct rhythms play simultaneously, their sounds do not conflict, but rather blend softly at the outset, then anxiously thereafter to produce a yearning, swelling sound that, in the end, retreats to an almost eerie grayness. While this piece runs for a mere two minutes or so—not a short length, however, in comparison with other Chopin etudes—it is nonetheless a brilliantly conceived and highly effective composition, quite representative of the composer's late style.

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No.2 in Db

This was the last étude Chopin wrote. He was apparently convinced he had covered as many aspects of piano technique in his "studies" as was feasible without repeating himself. In fact, he might not even have composed the "Trois nouvelles études" at all had he not received a commission from composer/pianist Ignaz Moscheles and François-Joseph Fétis, a Belgian musicologist, who both wanted a contribution from Chopin for their upcoming keyboard publication, Méthode des methods.

This D flat major étude is an examination of staccato and legato playing. It is not difficult to perform in the sense of making unusual physical demands; rather, it requires a keen interpretive sense and the skill to convincingly play staccato in one hand and legato in the other. The music itself is light and jaunty but unhurried in its emotional neutrality. If there is an outstanding trait to the character of the piece here, it is elegance, but elegance in a sort of playful context. The first two "Nouvelles études" have a bit more depth of expression and thematic appeal, but this final effort offers both subtle writing and colorful music.

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No.3 in Ab

The Trois nouvelles études (Three new studies) were the last etudes Chopin wrote. They are all short works—each lasting around two minutes—but are substantial in content. Written for Ignaz Moscheles' Méthode des méthodes, they further examine aspects of pianistic technique which the composer officially began exploring in his two earlier sets of etudes, the Op. 10 (1829-32) and the Op. 25 (1832-36), which each contain twelve etude. This A flat major etude, like the F minor First, is a study of cross-rhythms, which Chopin also explored in the Second Etude, in F minor, from the Op. 25 set. Here, the rhythmic aspects of the piece are essential, of course, but serve important harmonic and thematic roles as well. The main theme, rooted in repeating chords, is lovely and passionate, elegant, and yearning. It is a typical Chopin theme in its ambivalent character, evoking romance and loss at once, feelings of both joy and regret. A second theme emerges from the busy chords and foreshadows Rachmaninov's more reflective, melancholy side, especially as heard in some of his earlier piano compositions. The main melody returns to close the piece, bringing on a mood of serenity and consolation. This is probably the most familiar of the three works comprising the Trois nouvelles études set.

© Robert Cummings, All Music Guide