Etudes (27)

Chopin is the true inventor and patron of the "étude de concert" and what separates Chopin’s Études

from similarly composers is that it was Chopin who first gave it a complete artistic form in which

musical substance and technical difficulty coincide.

The creative stimulus is the individually shaped hand, with its arrangement of muscles and tendons. In

essence, it is the mechanical difficulty that directly produces the music, its charm and its pathos.

Etude no.1 - Op.10 no.1: C-major (1830 - 1832)

Etude no.2 - Op.10 no.2: A-minor (1830 - 1832)

Etude no.3 - Op.10 no.3: E-major (1830 - 1832)

Etude no.4 - Op.10 no.4: C#-minor (1830 - 1832)

Etude no.5 - Op.10 no.5: Gb-major (1830 - 1832)

Etude no.6 - Op.10 no.6: Eb-minor (1830 - 1832)

Etude no.7 - Op.10 no.7: C-major (1830 - 1832)

Etude no.8 - Op.10 no.8: F-major (1830 - 1832)

Etude no.9 - Op.10 no.9: F-minor (1830 - 1832)

Etude no.10 - Op.10 no.10: Ab-major (1830 - 1832)

Etude no.11 - Op.10 no.11: Eb-major (1830 - 1832)

Etude no.12 - Op.10 no.12: C-minor (1830 - 1832)

Etude no.13 - Op.25 no.1: Ab-major (1835 - 1837)

Etude no.14 - Op.25 no.2: F-minor (1835 - 1837)

Etude no.15 - Op.25 no.3: F-major (1835 - 1837)

Etude no.16 - Op.25 no.4: A-minor (1835 - 1837)

Etude no.17 - Op.25 no.5: E-minor (1835 - 1837)

Etude no.18 - Op.25 no.6: G#-minor (1835 - 1837)

Etude no.19 - Op.25 no.7: E-major (1835 - 1837)

Etude no.20 - Op.25 no.8: Db-major (1835 - 1837)

Etude no.21 - Op.25 no.9: Gb-major (1835 - 1837)

Etude no.22 - Op.25 no.10: B-minor (1835 - 1837)

Etude no.23 - Op.25 no.11: A-minor (1835 - 1837)

Etude no.24 - Op.25 no.12: C-minor (1835 - 1837)

Etude no.25 - Op.posth. Nouelles Etüde No.1: F-minor (1839)

Etude no.26 - Op.posth. Nouelles Etüde No.2: Ab-major (1839)

Etude no.27 - Op.posth. Nouelles Etüde No.3: Db-major (1839)

 Études[edit]

Main article: Études (Chopin)

Fanciful nicknames have been given to most of Chopin's Études from time to time, although Chopin

himself never used nicknames for these pieces, and none are authentic. Only a few nicknames of

the Etudes are widely used, such as Op.10 No.12, which is nicknamed "Revolutionary."

 Op. 10, 12 Études:

1. Étude in C major, Waterfall (1830)

2. Étude in A minor, Chromatic (1830)

3. Étude in E major, Tristesse, or L'adieu (1832)

4. Étude in C♯ minor, Torrent (1832)

5. Étude in G♭ major, Black Keys (1830)

6. Étude in E♭ minor, Lament (1830)

7. Étude in C major, Toccata (1832)

8. Étude in F major, Sunshine (1829)

9. Étude in F minor (1829)

10. Étude in A♭ major (1829)

11. Étude in E♭ major, Arpeggio (1829)

12. Étude in C minor, Revolutionary (1831)

 Op. 25, 12 Études:

1. Étude in A♭ major, Aeolian Harp, or Shepherd Boy (1836)

 2. Étude in F minor, The Bees (1836)

3. Étude in F major, The Horseman (1836)

4. Étude in A minor (1832–1834)

5. Étude in E minor, Wrong Note (1832–1834)

6. Étude in G♯ minor, Thirds (1832–1834)

7. Étude in C♯ minor, Cello (1836)

8. Étude in D♭ major, Sixths (1832–1834)

9. Étude in G♭ major, Butterfly (1832–1834)

10. Étude in B minor, Octave (1832–1834)

11. Étude in A minor, Winter Wind (1834)

12. Étude in C minor, Ocean (1836)

 Trois nouvelles études (1839):

1. Étude in F minor

2. Étude in A♭ major

3. Étude in D♭ major