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  1. Études (Chopin) - Wikipedia › wiki › Études_(Chopin)

    Étude in E major, Op. 10, No. 3, Tristesse. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages.

    • Étude Op. 10, No. 7

      Structure. Conforming with most of the others, Étude Op. 10,...

    • History

      Chopin's Études formed the foundation for what was then a...

  2. Frédéric Chopin - Wikipedia › wiki › Chopin

    Frédéric François Chopin, born Fryderyk Franciszek Chopin (1 March 1810 – 17 October 1849), was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without ...

  3. Studies on Chopin's Études - Wikipedia › wiki › Studies_on_Chopin&
    • Overview
    • The Studies
    • Recordings

    The Studies on Chopin's Études are a set of 53 arrangements of Chopin's études by Leopold Godowsky, composed between 1894 and 1914. They are renowned for their technical difficulty: critic Harold C. Schonberg called them "the most impossibly difficult things ever written for the piano." Several of the studies put the original right-hand part into the left hand; several others are for the left hand alone. Two of the studies even combine two études; the most well known of these, called...

    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. In contrast, Godowsky's original numbering scheme runs only to 48.

    Only five pianists, Geoffrey Douglas Madge, Carlo Grante, Marc-André Hamelin, David Stanhope and Emanuele Delucchi have recorded the entire set of the studies. Francesco Libetta, Carlo Grante and Emanuele Delucchi have performed the complete set in concert, but only Libetta has done so from memory. Francesco Libetta performed them again in Miami on July 7, 2018, in two recitals in the same day, one in the afternoon and one in the evening, also all of them by memory. Ivan Ilić has made a ...

  4. Étude Op. 10, No. 1 (Chopin) - Wikipedia › wiki › Étude_Op
    • Structure and Stylistic Traits
    • Technical Difficulties
    • Paraphrases
    • External Links

    The étude, like all études by Chopin, is in ternary form (A–B–A), recapitulating the first part. The first part of the middle section introduces chromaticism in the left hand octave melody while the second one modulates to the C major recapitulation via an extended circle of fifths. James Huneker states that Chopin wished to begin the "exposition of his wonderful technical system" with a "skeletonized statement" and compares the étude to a "tree stripped of its bark." Its harmonies resemble a chorale and its relationship to Bach's Prelude No. 1 in C major (BWV 846) from The Well-Tempered Clavier has been noted by musicologist Hugo Leichtentritt (1874–1951), among others. A fictional example of Chopin's harmonies with Bach's figuration and vice versa is given by British musicologist Jim Samson (born 1946). A harmonic reduction ("ground melody") of the work can already be found in Carl Czerny's School of Practical Composition. The work is to be executed at an Allegro tempo. Chopin's m...

    Chopin's pupil, Friederike Müller-Streicher (1816–1895), quotes Chopin: In Robert Schumann's 1836 article on piano études in Neue Zeitschrift für Musik, the study is classified under the category "stretches: right hand" (Spannungen. Rechte Hand). The novelty of this étude is its broad right hand arpeggios in sixteenth notes. These nonstop arpeggios, based mostly on chords of a tenth and covering up to six octaves, surpass the drier octave arpeggios of earlier piano composers such as Ludwig van Beethoven, Muzio Clementi or Carl Czerny in richness of overtones as well as in difficulty. The left hand plays a melody in slow legato octaves. The main technical difficulty of this piece is playing the uninterrupted right hand arpeggios, including the swift position changes, in legato powerfully and accurately at the suggested tempo ( = 176) without straining the hand. The momentum of the motion has to be transferred by the outer hand and the fifth finger to the accentuated top notes. French...

    Leopold Godowsky's 53 Studies on Chopin's Études include two versions. The first one arranges the sixteenth notes arpeggios for both hands in contrary motion and changes the time signature to 3 4. The second version in D♭ major gives two voices to be played entirely with the left hand alone. The time signature is 2 × 4 4. Friedrich Wührerinverts the hands in his arrangement, giving the arpeggios to the left hand.

    Études Op. 10: Scores at the International Music Score Library Project
    Audio on YouTube, Claudio Arrau
    Video on YouTube, Valentina Lisitsa
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  6. Étude - Wikipedia › wiki › Etudes
    • Overview
    • 19th century
    • 20th century

    An étude or study is an instrumental musical composition, usually short, of considerable difficulty, and designed to provide practice material for perfecting a particular musical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano. Of the vast number of études from that era some are still used as teaching material, and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place...

    Studies, lessons, and other didactic instrumental pieces composed before the 19th century are extremely varied, without any established genres. Domenico Scarlatti's 30 Essercizi per gravicembalo do not differ in scope from his other keyboard works, and J.S. Bach's four volumes of Clavier-Übung contain everything from simple organ duets to the extensive and difficult Goldberg Variations. The situation changed in the early 19th century. Instruction books with exercises became very common. Of ...

    The early 20th century saw the publication of a number of important collections of études. Claude Debussy's Études for piano conform to the "one facet of technique per piece" rule, but exhibit unorthodox structures with many sharp contrasts, and many concentrate on sonorities and timbres peculiar to the piano, rather than technical points. Leopold Godowsky's 53 Studies on the Chopin Études are built on Chopin's études: Godowsky's additions and changes elevated Chopin's music to new ...

  7. Étude Op. 10, No. 10 (Chopin) - Wikipedia › wiki › Étude_Op

    Étude Op. 10, No. 10, in A ♭ major, is a technical study composed by Frédéric Chopin. This étude places huge demands on the performer in varying a single pattern by changes of accent and touch. Chopin's primary concern in this work is for the widest possible variety of touch that can be given to a single figuration, with the continuous ...

  8. Études de Chopin — Wikipédia › wiki › Études_de_Chopin

    (en) James Huneker, Chopin: the Man and His Music (1900), sur le projet Gutenberg. (en) Leontsky, Jan : Interpreting Chopin. Etudes op.10 & op.25. Analysis, comments and interpretive choices. Tarnhelm editions. Études op. 10, op. 25, partitions libres sur l’International Music Score Library Project

  9. Étude Op. 10, No. 11 (Chopin) - Wikipedia › wiki › Étude_Op

    Étude Op. 10, No. 11 (Chopin) Étude Op. 10, No. 11, in E ♭ major, is a technical study composed by Frédéric Chopin. It is sometimes known as the "Arpeggio" or "Guitar" Étude. The chief difficulty addressed in this piece is the performance of extended arpeggiated chords. Throughout, the hands are required to stretch intervals as large as ...

  10. Étude Op. 25, No. 8 (Chopin) - Wikipedia › wiki › Étude_Op

    Étude Op. 25, No. 8, in D-flat major, is a technical piano study composed by Frédéric Chopin. This etude is composed with sixths being played in both hands. The technical skill required to play it makes this etude one of the most difficult in Op.25. Its unusual sound is due to the uninterrupted succession of ascending, descending and ...

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