Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The Opus 25 group concludes with a work of almost elemental power: the Étude in C minor, Op.25, No.12, occasionally called the "Ocean" Étude. Great waves of arpeggiations run throughout the work, in both hands. The passionate extremes are pronounced, and there is an almost Beethovenian ruggedness throughout. Where the "Winter Wind" Étude is an example of extreme pianism, here one senses Chopin, for a brief time, escaping from the sound-world of his beloved piano and concocting a mixture of a much more orchestral conception, if not execution. Few pianists can maintain the powerful tone of this final Étude without the performance degenerating into an unhappy exercise in pianistic bombast.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

Allegro vivace is the marking of the ninth étude of the group (in G-flat major), and, indeed, this brief piece is through before many listeners have gotten their bearings (it has been, at times, called the "Butterfly" or "Butterfly's Wings" Étude). The piece is graceful and good natured, though one can sense an impish humor at work as well.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The colorful grace notes of the Étude in E minor, Op.25, No.5 once earned this quicksilver piece the name "the Wrong Note Study." One of the few Études cast in ternary (ABA) form, the work's opening is vivace (quintessentially scherzando) and inhibitingly difficult. The performer's touch must be very subtle, lest the perverse, coquettish humor of the piece be swallowed up by the treacherously difficult finger-work. A broader, soulful melody appears in the central, E major section (marker piu lento). The two-handed trills of the tiny coda are brilliantly conceived.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The famous pianist and conductor Hans von Bülow felt the Étude in D flat major, Op.25, No.8 to be the most useful étude in the entire repertoire, and recommended the aspiring pianist to play it, daily, six times in a row "as a remedy for stiff fingers and preparatory to playing in public." One must take care, however, that the running double-sixths do not damage the hand, especially if it is particularly small or weak. The piece is fun-loving—a wild technical celebration. The passage built exclusively of "forbidden" intervals is one that Chopin clearly took great joy in creating.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

Chopin puts his wonderful ability to take a purely technical problem—in this case that of parallel thirds—and turn it into a musical statement of great interest on display in the Etude in G-sharp minor, Op.25, No.6. The work's atmosphere demands a feather-like touch on the keyboard.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The Étude in F minor, Op.25, No.2 demands a great deal of detachment; any extraneous sentiment will surely destroy a performance of this rustling, whispering presto. For Chopin—long before he grew so weak that he was forced to scale down his playing and emphasize the more subtle dynamics in lieu of the more extravagant, Lisztian sonic tidal waves—the most enchanting thing in music was a real pianissimo, and the pianist must always be on guard to avoid destroying the delicate texture (a danger made all the more imminent by the awkward cross-rhythms that fill the piece).

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The Étude in B minor, Op.25, No.10, is a tiring exercise in legato octaves. The extreme agitation—one might almost say ordered chaos—of the piece is interrupted by a sublime (and to the performer, most welcome and physically relaxing) B major melody.

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Ten of the twelve études published as Frédéric Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The first étude of the publication, the Étude in A-flat major, Op.25, No.1, has been dubbed both the "Aeolian Harp" Étude, on account of its continuously undulating arpeggiations, and the "Shepherd's Boy" Étude. The "Shepherd's Boy" title owes its existence to Chopin's remark (made to a student) that when playing the piece he thought of a young shepherd taking refuge from an approaching storm in a quiet grotto—as the rumblings of the storm approach in the background the shepherd plays a simple tune on his flute. Chopin might have had such an image in mind during the composition of the piece; the idea that he simply translated what he conceived of in purely musical terms into a language that a young student might more readily understand seems more likely. A pianist whose right hand lacks a sturdy fifth finger will find Chopin's "simple melody" rather tiring.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The F major Étude, No.3, is more bravura in nature than those before it in the set. Four separate rhythmic cells are used to create a single generative musical motive, used with great ingenuity throughout the piece. A central section in B major is somewhat darker in tone, though still lacking any of the bittersweet taste that marks so many of the composer's works.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

The Étude in C-sharp minor, Op.25, No.7 has been called the "Sarabande" Étude (on account of its regal three-four meter background), and the "Duet" etude (on account of its essentially two-voice texture—the musical material between these two voices being just harmonic stuffing). The piece relies on a prevailing piano/pianissimo texture to evoke an atmosphere of extreme sadness; only twice does a more aggressive dynamic breach the quietude.

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The Op. 10 Études were composed in the period 1829-1832 and dedicated to Franz Liszt. This Op. 25 collection bears a dedication to Liszt's mistress, Countess Marie d'Agoult, a writer who used the pseudonym Daniel Stern. One reason Chopin attempted to capture Liszt's sympathies with the dedications had to do with the performance design of the pieces in the two sets: each was written to highlight some facet of pianism. For example, in the Op. 25 collection, No. 2, in F minor, is a study in cross rhythms, while No. 10, in B minor, is a study in legato octaves.

The first item in the Op. 25 set is nicknamed the "Aeolian Harp," owing to its soft and graceful arpeggios. The piece is lively and full of color, but slightly wistful in its dark gentleness. The second étude, mentioned above, sounds gossamer and utterly enchanting as the pianist's fingers glide along the keyboard to produce a busy yet elegant cascade of running notes. The third piece, in F major, gallops along with a theme that strikes the ear as the perfect mixture of joy and confidence.

The next three études all offer virtuosic challenges of substantial proportion—not that the others do not. The first of this trio, in A minor, hustles along and presents contrasts between legato and staccato. It has been linked to the virtuosity of the legendary violinist Paganini. The next, in E minor, is playful and has been called Lisztian, not simply because of its pianistic challenges but also because of its impish, devilish character. The last of this threesome, in G sharp minor, presents difficulties in its right-hand thirds. Its delicate sonorities and effervescent sprays of notes simply beguile the ear.

No. 7, in C sharp minor, is lyrical, and is by far the longest étude in either set, lasting around six minutes. Its expressive range and focus are probably greater than those in any of its companion pieces; most of its music is deeper, and its mood is sorrowful. The eighth étude, in D flat major, is joyous in its study of sixths, while the ensuing G flat piece, of similar mood, is more buoyant; the soloist is challenged once more in rendering the piece's divided octaves. This feature of octaves has been mentioned above in relation to the furious No. 10, whose lovely middle section provides wonderful contrast to the insistent rage of the main theme.

The 11th entry here, in A minor, is the famous "Winter Wind" Etude. Its proud theme evokes a wintry scene, with the busy right hand providing swirls of notes that seem to incarnate an angry wind. The last item in the set, in C minor, is a study in arpeggios. The mood is somber and agitated, and there is resemblance throughout to the first étude of the Op. 10 set.

A typical performance of the Op. 25 Études lasts from 30 to 35 minutes.

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

Syncopation is the main preoccupation of the Étude in A minor, Op.25, No.4. A staccato figuration in the left hand is played against continuous syncopated chords in the right. The work creates an atmosphere of great anxiety (and, as Huneker put it, of "confusion, as, alas! it so often does in incompetent hands").

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Ten of the twelve études published as Fryderyk Chopin's Opus 25 were actually composed at the same time as the Twelve Études, Op.10; only the first and last pieces of the Opus 25 collection (published in 1837) were put together at a later date. Opinion on the relative merit of the two sets has varied throughout the last two centuries (some, such as the Hungarian pianist and composer Stephen Heller, a contemporary of Chopin's, see the Opus 25 Etudes as clearly superior to the Opus 10 group, while Robert Schumann is known to have preferred the earlier publication), both collections occupy vital positions within the pianist's repertoire, and, when viewed collectively, we can find examples of almost every facet of pianistic technique and expression. Like the Opus 10 etudes, those of Opus 25 are very much intended for serious concert performance, and not solely for the virtuosic display of technique.

Once known almost exclusively by the name "The Winter Wind", the eleventh Étude of the group, in A minor, is the longest of all the Études. Care must be taken that the march-like rhythms of the left hand neither flag nor risk becoming mechanical. The anxious right hand is given over to passagework of great chromaticism.

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