The twenty-four Études of Fryderyk Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.

Étude No.4 of the group, in C sharp minor, is something of a foil to its immediate predecessor: here is a magnificent gesture of velocity and fiery abandon which few études—Chopin's or otherwise—can rival in sheer dramatic impetus. The music builds to a massive climax, culminating in the arrival of the fff dynamic in the seventieth bar of the piece.

© All Music Guide

###

The twenty-four Études of Fryderyk Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.

The most famous of all Chopin's works (save, perhaps, for the E flat Nocturne in Opus 9 or the famous funeral march), the "Revolutionary" Étude in C minor, Op.10, No.12, brings the first collection of études to a stirring conclusion. The work—which is thought to be a musical expression of Chopin's powerfully emotional reaction to the news that Russian forces had taken Warsaw, capital of his beloved homeland—is certainly one of the most interesting the composer ever penned. The opening has been called "Zeus hurling thunderbolts at the world," and indeed, the work begins with the kind of passionate onslaught that so many lesser composers have tried, with little success, to imitate. The despairing tone is somewhat overcome by the presentation of the noble main theme in the tenth bar of the piece. The reprise of this same tune some forty bars later, however, leaves it emotionally fractured. The final, rage-filled conclusion has been likened to the "crack of creation."

© All Music Guide

###

The twenty-four Études of Fryderyk Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.

The Étude in E major Op.10, No.3 is the first of Chopin's studies to resemble the composer's own Nocturnes more than a traditional technical study. It has been called a tone-poem in miniature, and the wonderful cantabile phrasing bespeaks the composer's great love of opera. A famous anecdote relates how the composer, while teaching this particular work to a pupil (Adolf Gutmann), broke down and cried out, "Oh, my homeland!".

© All Music Guide

###

The 24 Études of Fryderyk Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner"; indeed, a great chasm stands between his achievements in the genre and the far drier attempts of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The 12 Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious player can ignore.

Op. 10, No. 5 is the famous "Black key study" in G flat major: the right hand plays only the pentatonic group of pitches found on the black keys of the piano. Chopin himself was not fond of this étude, remarking that it is "the least interesting [of all the études] for those who do not know that it is written for the black keys alone." It has become fashionable among virtuosi to perform the work at lightning-fast tempos; the Étude, however, is not a showpiece by nature, and would be better served if performers instead emphasized its rather coquettish humor.

© All Music Guide

###

The twenty-four Études of Fryderyk Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.

The sixth étude of the group is another that seems to mimic the tone of the composer's Nocturnes. The work is cast in the gloomy key of E flat minor; its chromatic restlessness (effectively set against a slow background) can be a musical trap for pianists who have not the subtlety and insight to achieve the necessary undertones of deep, restrained anguish.

© All Music Guide

###

The twenty-four Etudes of Frédéric Chopin (divided into two separate opus numbers, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. In a letter written in the fall of 1829, Chopin remarked that he had composed an etude "in [his] own manner." Indeed, a great chasm stands between his achievements and the far drier etudes of such predecessors as Moscheles, Czerny, and Hummel. Unlike many nineteenth-century pianist-composers, Chopin did not wish to create studies of only technique and raw dexterity. Here, instead, are works which provide the pianist with an inexhaustible array of textures, moods, and colors to explore. Concert pieces as well as technical studies, the twelve Etudes published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft; furthermore, they are a rite of passage that no serious pianist can ignore. The blistering arpeggiations of the Etude Op.10, No.1 in C major lay down the foundation of nineteenth-century virtuoso pianism. The work consists, quite simply, of a series of daunting right-hand maneuvers, supported by the plain melody, in octaves, of the left hand. While the technical demands and harmonic syntax may go a good deal further than most musicians of the day would have found comfortable, the texture is essentially classical in nature (if not execution).

© All Music Guide

###

The 24 études of Frédéric Chopin (divided into two separate published sets, Opp. 10 and 25, but actually composed almost simultaneously) remain the most significant entries in themusical genre of the étude or study, a stylized instrumental teaching exercise. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as was the norm for the genre, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve études published as Chopin's Op. 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.

Op.10, No.7, in contrast with the preceding work, is all freshness and charm. It is a genuine toccata that demands its executant to combine "beauty and duty" in a "double harness," as musicologist James Huneker has said. Repeated notes must be played by alternate fingers while the fifth finger of the right hand is asked to play melodically.

© All Music Guide

###

Before Chopin, there was a tradition of writing studies for the development of keyboard technique, but the pieces were primarily didactic. This set of 12 Études, dedicated to Liszt, represents a new form: concert pieces that serve a secondary function as development of advanced piano skills. Each étude begins with a pattern of pianistic figuration, which creates the specific technical problem for the étude and persists for the duration of the piece. That Chopin was able to create poetry in spite of such controlled and limited means of expression is a testament to his creative genius.

No. 1, in C major is nothing more than a series of wide-spanning arpeggios, expanding and contracting the right-hand, set over a simple sustained bass. It is a work of majestic beauty in spite of the simplicity of means.

No. 2, in A minor is a somewhat dry work, which exercises the last three fingers of the right hand. Rapid chromatic scales run up and down the keyboard to the accompaniment of detached chords. It is extraordinarily difficult to play smoothly.

With a beautifully lyrical melody, set rather simply, Étude No. 3, in E major, is contrasted with a more agitated middle section. The ability to differentiate melody from accompaniment in a single hand is exercised here. One of the easier études, Chopin thought this his finest melody.

Strong and independent fingers are required for the toccata-like Étude No. 4, in C sharp minor. Rapid passages alternate between the hands, creating an exciting, whirlwind effect. It is less difficult than it sounds.

The popular nickname for Étude No. 5, in G flat major, "Black Key," refers to the right-hand playing exclusively on the black keys. The mood is light and brilliant, created by rapid figuration over a chordal accompaniment. A strong and flexible rotation technique is required.

Étude No. 6, in E flat minor, is the easiest of the set, similar in technical requirements to No. 3. The mood is somber and plaintive, and there is no contrasting middle section.

The Étude No. 7, in C major, is a study in double notes. The right hand alternates rapidly between thirds and sixths, while the left hand carries the melody and bass. Musically a little insubstantial, it is valuable for the development of proper wrist and arm technique.

Étude No. 8, in F major, is a study in right-hand arpeggios and passagework. The left hand plays a somewhat jaunty melody while the right hand sweeps up and down the keyboard. Technically, it is similar in requirements to No. 4, but the wider range of the arpeggiation makes a legato execution more difficult.

Widely spaced figurations in the left hand of the ninth étude in F minor present the principal technical problems here. A breathless and passionate melody in the right hand propels the étude to a quietly effective ending. This is one of the easier études of the set.

A variety of technical problems are addressed in Étude No. 10, in A flat major: broken-chord rotation technique in the right hand, large skips and arpeggiation in the left hand, and differentiation of attack for both hands. Chopin basically presents a single idea repeated in a wide variety of articulations and phrasings. This étude is as ingenious as it is difficult.

Really nothing more than a chorale, the 11th étude in E flat major is a study in broken or arpeggiated chords. The difficulty lies in the wide span of the chords and in the tonal differentiation of the melody.

There is an apocryphal story that has Chopin writing his Étude No. 12, in C minor, "Revolutionary," as a reaction to the burning of Warsaw in 1831. True or not, it is an extraordinarily impassioned work, belying its technical utility. Here, the requirements of No. 8 are reversed—the left hand provides the sweeping arpeggios and passagework while the right hand plays the heroic melody in octaves and chords.

© All Music Guide

###

The 24 études of Fryderyk Chopin (divided into two separate published sets, Opp. 10 and 25, but actually composed almost simultaneously) remain the most significant entries in themusical genre of the étude or study, a stylized instrumental teaching exercise. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as was the norm for the genre, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve études published as Chopin's Op. 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.

The famous 19th-century pianist and conductor Hans von Bülow called the Étude in F major Op.10, No.8 "a bravura study par excellence." Cascades of right-hand passagework rush across a full four octaves of the keyboard while the left hand presents a simple melody. The piece is not marked by profound sentiment of any kind, unless it be the sheer joy—innate to any great pianist and certainly to Chopin himself—of conquering the difficulties presented by his or her instrument.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.