These Etudes are somewhat longer, more difficult, and more obviously Etudes than those of Opus 33, even though the poetic aspect of the "Tableaux" is still present. They are without exception extraordinarily difficult. #1, in c minor. Flying triplet figurations span the keyboard in this propulsive and driven Etude. There are two powerful climaxes; each preceded by rapidly repeated chords. #2, in a minor. Here Rachmaninov indulges his love of the "Dies Irae" chant, embedding it in the accompaniment of this tragic and powerful Elegy. A contrasting central section builds to a climax that dissipates in chromatic passages before returning to the reprise of the opening. #3, in f-sharp minor. This Etude has interesting and unusual metrical groupings of its underlying triplet rhythms. Combined with the fleeting nature of the figuration, this makes it particularly difficult to develop a sense of a regular beat. The result is effective, if somewhat unsettling. A cadenza ends the piece quietly. #4, in D major. A march-like work with shifting meters. Rachmaninov originally gave no time signature, but most editors have inserted them for the performer's convenience. The Etude is primarily a study in repeated notes and staccato chords. It is one of the less effective pieces in the set. #5, in e-flat minor. This Etude is a somber and grand work, almost too epic in mood for its scale. A powerful theme is played against triplet chords in the main section, while the contrasting middle section features a longing melody accompanied by widespread arpeggiations. The build-up to the return of the main theme is highly effective, and results in an extraordinarily powerful climax. #6, in a minor. Originally part of Opus 33, this Etude's large scale and extreme difficulty seem more appropriate to this set. This exciting and aggressive piece features alternating sections of rapid staccato chords and tricky sixteenth-note figurations. #7, in c minor. An elegiac work that starts out with slow, sustained passages followed by a driving and march-like section. The repeated chords of this passage build to a sonorous climax before subsiding for the quiet ending. #8, in d minor. This beautiful work has an underlying rhythm that makes it sound much like a Barcarolle. The harmonies are lush and romantic, supporting the sparse melodic material, which is constructed primarily of a repeated motive. There is something of a build-up to a subtle and understated climax before the interesting and staccato reprise of the main material. #9, in D major. Much like the final Prélude of Opus 32, this Etude uses material from the other pieces of the set. It is primarily a chord study, ostensibly dramatic, but not highly effective, and somewhat anticlimactic when the entire set is performed as a whole.



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