The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number.
Studies on Chopin's Études is a set of 53 arrangements of Chopin's études by Leopold Godowsky. (The number of studies is often given as 54, with Op. 25, No. 2 having one study written as a considerably different ossia of another; a similar ossia also exists for one of the studies on Op. 25, No. 3, so the total number of studies can be taken to be 55.
Étude Op. 10, No. 1 in C major, known as the Waterfall étude, is a study for solo piano composed by Frédéric Chopin in 1829. It was first published in 1833 in France, Germany, and England as the first piece of his Études Op. 10. This study in reach and arpeggios focuses on stretching the fingers of the right hand.
Chopin's Études are some of the hardest pieces of all the works in concert piano repertoire. Because of this, the music remain famous and are often played at concerts.
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Chopin aveva ventitré anni ed era già famoso come compositore e pianista nei salotti di Parigi, dove fece la conoscenza di Franz Liszt. Successivamente, Chopin dedicò l'intera Opera 10 "à mon ami Franz Liszt" (al mio amico Franz Liszt). Études Op. 25
Fryderyk Chopin was born in Żelazowa Wola, 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon.The parish baptismal record, which is dated 23 April 1810, gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus (in Polish, he was Fryderyk Franciszek).
- Structure and stylistic traits
- Technical difficulties
- Paraphrases and arrangements
Étude Op. 10, No. 3, in E major, is a study for solo piano composed by Frédéric Chopin in 1832. It was first published in 1833 in France, Germany, and England as the third piece of his Études Op. 10. This is a slow cantabile study for polyphonic and expressive legato playing. In fact, Chopin himself believed the melody of the piece to be the most beautiful one he ever composed. It became famous through numerous popular arrangements. Although this étude is sometimes identified by the...
Like most of Chopin's other études, this work is in ternary form. The A section is of remarkable melodic construction. Musicologist Hugo Leichtentritt believes its asymmetric structure, + bars, to be highly relevant to the impact of the melody. The first five bars can be seen as a contraction of 4 + 4 bars with the final clause of the prototypal eight-bar period replaced by bar 5. Italian composer and editor Alfredo Casella notices the Pelléas-like effect of the oscillating major thirds ...
Polish pianist and editor Jan Ekier writes in the Performance Commentary to the Polish National Edition that this étude is "always performed slower or much slower than is indicated by tempo [M.M. 100]". The original autograph bears the marking Vivace changed to Vivace ma non-troppo in the clean copy for the French edition. Ekier observes: "Only in print did Chopin change it to Lento ma non-troppo simultaneously adding a metronome mark." The middle section, especially the bravura passage in ...
In Robert Schumann's 1836 Neue Zeitschrift für Musik article on piano études, the study is classified under the category "melody and accompaniment in one hand simultaneously". As the right hand part contains a melody to be played by the three "weaker fingers" and an accompaniment figure played by the first two fingers, the hand can be divided into an "active element" and an "accompanying element" not unlike in Op. 10 No. 2. French pianist Alfred Cortot especially mentions the importance ...
Leopold Godowsky's version for the left hand alone in his Studies on Chopin's Études is a "rather faithful transformation... creating the illusion of two-hand writing". It is transposed to D flat major. Transcriptions for voice with a relative adaptation of words already existed in Chopin's time. When he was in London in 1837[? according to Wikipedia's article, Malibran died in 1836], he heard Maria Malibran sing one of these "adaptations" and pronounced himself extremely pleased. This ...
Étude Op. 25, No. 11 in A minor, often referred to as the Winter Wind in English, is a solo piano technical study composed by Frédéric Chopin in 1836. It was first published together with all études of Opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time time signature, but the manuscript and the first German edition both feature cut time. The first four bars that characterize the melody were added just before publication at the advice of...
The étude is a study for developing stamina, dexterity, and technique – essential skills for any concert pianist. It begins with a piano introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets and a leaping figure for the left hand in the relative major, C major, which shortly segues into a repetition of the first theme. It finishes with a short development into a fortissimo coda, and ends with one final statement of the theme.
The American music writer and critic James Huneker, in his preface to the Schirmer edition of Chopin's études, famously asserted of this étude, "Small-souled men, no matter how agile their fingers, should avoid it." The étude is a virtuoso piece played as an encore by pianists such as Evgeny Kissin and Van Cliburn on his CD release titled My Favorite Chopin, and was scrupulously avoided by others such as Vladimir Horowitz who never recorded it.
- Structure and stylistic traits
- Black keys
- Technical difficulties
Étude Op. 10, No. 5 in G♭ major is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, Germany, and England as the fifth piece of his Études Op. 10. This work is characterized by the rapid triplet figuration played by the right hand exclusively on black keys, except for one note. This melodic figuration is accompanied by the left hand in staccato chords and octaves. Excerpt from the Étude Op. 10, No. 5 Étude No. 5 Played by Martha...
The so-called "Black Key Étude" is one of the composer's most popular. It has been a repertoire piece of pianists since Chopin's time and has inspired numerous exercises, arrangements and paraphrases. Chopin himself did not believe the study to be his most interesting one, and in a letter to his pianist friend and musical executor Julian Fontana he comments on Clara Wieck’s performance
Like all of Chopin's other études, this work is in ternary form ABA. The two eight-bar periods of the A section are characterized by frequent dynamic contrasts. Each reentry of the first bar, occurring every four bars, is marked by a forte, followed in the second bar by a piano restatement in a lower register. This capricious:106 opening in the tonic is replied by an upward movement and a syncopated accompaniment in the third and fourth bar. This pattern is repeated four times. The ...
Étude Op. 10, No. 5 is known as the "Black Key Étude" as its right-hand part is entirely on black keys, except for one note. Leichtentritt states that the melodic character resulting from the use of black keys is "based on the pentatonic scale to which the piece owes its strangely playful, attractively primitive tint.":109 He presents a melodic reduction of the right hand part which, played in octaves by piccolo and flute, resembles a frolicsome Scottish jig.:110–111
Chopin gave the tempo/character indications vivace and brillante. German pianist and composer Theodor Kullak says that the piece is "full of Polish elegance." American music critic James Huneker calls it "graceful, delicately witty, a trifle naughty, arch and roguish and delightfully invented." Leichtentritt states "the piece shall glisten and sparkle, giggle and whisper, entice and flatter, have charming, occasionally coquettish, accents, bubble over with lively agility, enchant with amiable el
In Robert Schumann’s 1836 Neue Zeitschrift für Musik article on piano études, the study is classified under the category "speed and lightness". Huneker states "it requires smooth, velvet-tipped fingers and a supple wrist." Chopin's original indication concerning articulation of the right hand is legato. A sempre legatissimo indication is given at bar 33. Nevertheless, Austrian pianist and composer Gottfried Galston questions these indications and calls them "completely incomprehensible ...