Chopin: Etudes, Op. 25

Composed between 1835 and 1837.

Published in Leipzig, Paris, and London in 1837.

Dedicated to Countess Marie d'Agoult.

The autograph manuscript is housed in the National Library of Poland (call numberMus.217 Cim), according to RISM online.

The Genre of Etudes

Etudes, as the name suggests, aim to help instrumentalists overcome technical difficulties and perfect their playing technique. Originally, from the mid-18th century onwards, the term was used to refer to practice exercises within violin methods. However, in the early 19th century, with the publication of Johann Baptist Cramer's 42 Studies for the Pianoforte Op. 30 and Op. 40 (1804, 1809), the genre became established in the realm of keyboard instruments as well. Subsequently, virtuoso pianists such as Muzio Clementi, Frédéric Kalkbrenner, and Carl Czerny successively composed etudes. Furthermore, by around 1830, when Chopin composed his Etudes Op. 10, attempts to establish a personal style emerged, with "Concert Etudes" being composed by virtuoso performers, in addition to the aforementioned etudes composed with educational intent. Examples include Franz Liszt's etudes, which were inspired by Paganini's transcendental virtuoso works for violin.

However, many of Chopin's etudes, while possessing a more cantabile character compared to those of his predecessors, are considered to have been composed with an educational purpose rather than for concert performance. This can be seen from accounts stating that Chopin had his students play his own etudes after those of earlier masters like Cramer and Clementi during lessons.

Etude No. 1 "Aeolian Harp"

Key: A-flat major, Time Signature: 4/4, Tempo: Allegro sostenuto

In 1835, when Chopin visited Schumann's house in Leipzig on his way from Dresden to Paris, he is said to have played the beginning of the then-unfinished Ballade No. 2 and the first two etudes of Op. 25 in front of his friends. Schumann vividly described Chopin's playing at that time, remarking about Etude No. 1, "Imagine an Aeolian Harp." Since then, this piece has been commonly known as "Aeolian Harp."

An Aeolian Harp is a stringed instrument that produces sound from natural wind, consisting of multiple strings stretched over a box-shaped wooden frame. The strength, direction, and force of the wind cause different strings to vibrate, producing various timbres. In Europe at the time (mainly England and Germany), these instruments were often placed in homes, caves, gardens, and summer villas, so people likely had many opportunities to hear their sounds. It is clear that the subtle nuances of the broken chords played by both hands reminded Schumann of this instrument.

On the other hand, the composer Chopin is said to have told one of his students, "Imagine a shepherd boy who, to avoid an approaching storm, has fled to a safe cave. Even though the rain and wind rage far away, the shepherd calmly plays his reed pipe, improvising melodies as they come to him."

The technical challenges include the independence of each finger and the flexibility of the wrist and elbow required to play fine arpeggios legato.

Etude No. 2

Key: F minor, Time Signature: 2/2, Tempo: Presto

This piece is said to have been performed by Chopin along with Ballade No. 2 and Etude No. 1 of Op. 25 when he visited Schumann's house in Leipzig in 1835. Schumann described this work as "original and unforgettable once heard," and praised it, saying it has "a tenderness that enchants and makes one dream, like the song of a sleeping child."

This etude focuses on playing different time signatures with both hands. The melodic figuration in the right hand requires clear articulation of each note, yet it unfolds with many neighboring tones, necessitating a clear distinction between the core notes and the auxiliary notes. While the right hand develops through spinning out its line, the left hand plays a small, circular figuration in triplets.

Etude No. 3

Key: F major, Time Signature: 4/3, Tempo: Allegro

This etude requires clear articulation of different rhythmic patterns in the right and left hands.

In his Music and Musicians, published in 1854, Schumann praised Chopin, describing the charming brilliance of the technique that characterizes this work. Schumann's "charm" likely stems from the Lombard rhythm, Scotch snap, and other inverted dotted rhythms.

In addition to the lively inverted dotted rhythms, the 16th-note appoggiaturas in the right hand and the frequent use of sixth intervals in the left hand evoke a somewhat exotic atmosphere.

Etude No. 4

Key: A minor, Time Signature: 2/2, Tempo: Agitato

This piece is an exercise in leaps. The right hand is required to accurately strike triads, including octaves, on the off-beat, while the left hand must accurately strike leaps from the bass note on the downbeat to double stops (or triads) on the off-beat.

Alfred Cortot, in his revised edition of this etude collection, described the technique of this piece as "diverse in subtle details of rhythm and expression, despite seemingly similar forms." He explained that performers can master various playing techniques such as staccato, portamento, and legato through this work.

As Cortot noted, from measure 9 onwards, the key is how to play the uppermost melodic line in the right hand legato, while continuing to play the inner voices of both the left and right hands staccato as before.

Etude No. 5

Key: E minor, Time Signature: 3/4, Tempo: Vivace, Ternary form

In the A section, the challenges include the right-hand melody, which contains non-harmonic tones, and the wide-ranging arpeggios in the left hand. The inverted dotted rhythm in the right hand, the non-harmonic tones in the inner voice, and the left-hand arpeggios create a humorous, scherzando atmosphere.

The middle B section (from measure 45) abruptly shifts, with the right hand's arpeggios, including double stops, becoming the focus. Playing arpeggios that traverse low and high registers effectively requires weight transfer of the upper body and efficient position shifts of the right hand. A sweet, long-breathed melody appears in the left hand. The music gradually becomes tense and passionate (from measure 73) but then regains tranquility (from measure 80) before returning to A.

Etude No. 6

Key: G-sharp minor, Time Signature: 2/2, Tempo: Allegro

The challenges are the double thirds and chromatic scales in the right hand. Chopin developed innovative fingerings in his piano works, and this piece exhibits some of those characteristics, such as:

• Playing chromatic scales in double thirds by sliding the same finger.
• Finger crossings and overlaps.

By incorporating these techniques, Chopin is believed to have expanded the possibilities for beautiful legato playing in this work. Techniques like finger crossings and overlaps (point 2) would require subtle adjustments in wrist height and flexibility of the wrist and elbow.

While the right hand plays brilliant ornamental figurations, the left hand, following a circular accompaniment pattern, then plays a sighing motif with descending triads, thereby heightening a sense of unease.

Etude No. 7

Key: C-sharp minor, Time Signature: 3/4, Tempo: Lento

This piece has the character of a slow movement. The challenges are the cantabile playing of the left-hand melody and the differentiation between the inner and outer voices of the right hand.

As he did in the preceding Etude Op. 10, No. 5 "Black Key", Chopin allows the use of the thumb on black keys in this piece. In this work, particularly as seen in the right hand's inner voice D in measure 12, for example, this is considered a device to achieve a more legato performance of the inner voice.

The left-hand melody is sung emotionally with a warm, cello-like timbre. The right-hand melody generally responds to this main left-hand melody, playing imitations of the left hand, while occasionally taking the leading role when the left hand plays ornamental notes. The right-hand inner voice plays double stops in eighth notes, expressing a gradual shift in nuance.

Etude No. 8

Key: D-flat major, Time Signature: 2/2, Tempo: Vivace

In contrast to the melancholic character of the preceding No. 7, this piece has a brilliant and sparkling character.

The challenge involves playing double sixths with both hands. For the right hand, fingers 1 and 2 generally play the inner voice, while fingers 3, 4, and 5 play the outer voice. For the left hand, fingers 3, 4, and 5 play the outer voice, and fingers 1 and 2 play the inner voice. This requires switching between adjacent fingers and the ability to strike both voices simultaneously. The left hand involves leaping intervals from the bass note on the downbeat to the subsequent double sixth, necessitating quick position shifts and accurate articulation. Meanwhile, for the right hand, it is essential to ensure that the main melody in the uppermost voice sounds legato and to pay attention to the balance with the inner voice.

This piece is in A-B-A ternary form. A coda begins at measure 28, and from measure 33, the piece rapidly ascends to the highest note with a chromatic scale of double sixths.

Etude No. 9 "Butterfly"

Key: G-flat major, Time Signature: 2/4, Tempo: Assai allegro

This etude is an exercise in playing light octave figurations in the right hand. The alternating appearance of legato and staccato makes the differentiation of these articulations crucial. The left hand, which plays the eighth-note accompaniment pattern, needs to shift positions quickly, especially in the latter half, as it includes wide leaps.

Like many of Chopin's etudes, it is in A-B-A ternary form. After the initial theme returns at measure 25, the coda begins at measure 38.

Etude No. 10

Key: B minor, Time Signature: 2/2, Tempo: Allegro con fuoco, Ternary form

The A section (measures 1-29) is an exercise in octave unisons in both hands. It is characterized by a heavy, pressing stepwise motion, and the key lies in exploring effective pedaling and the application of arm weight to achieve the desired acoustic effect.

In the B section (from measure 30), which shifts to 3/4 time and modulates to B major, the right hand plays the melody in octaves, similar to the A section, but its character completely changes, becoming calm and graceful. The left hand divides into inner and outer voices, with the inner voice occasionally tracing the right-hand melody in unison. After a transitional passage of 14 measures repeating the same descending figuration, the piece returns to A.

Etude No. 11 "Winter Wind"

Key: A minor, Time Signature: 2/2, Tempo: Lento/ Allegro con brio

The opening four measures were not present in the original composition but were later added at a friend's suggestion. The challenge lies in playing the intricate passage work in the right hand. In the main section, the right hand plays continuous passage work, with a few exceptions, while the left hand takes on the melody from the introduction. The right-hand passage work traverses a wide range, requiring smooth weight transfer not only of the arms but of the entire upper body.

This piece is also well-known for Chopin's allowance of the little finger crossing over the thumb to effectively execute the passage work.

After the theme is presented nostalgically at the beginning, the main section abruptly presents the theme fiercely, accompanied by passage work. Although it temporarily shifts to a major key in the middle section, this passionate character permeates the entire piece.

Furthermore, the biographical film about Chopin, A Song to Remember, released in 1935, depicts a scene where Chopin impulsively performs this piece at a concert immediately after receiving news of Russia's Warsaw invasion. This is a work of fiction. While it is true that Chopin was disturbed by the news of the Warsaw invasion, there is no direct connection between this event and the composition of this piece.

Etude No. 12 "Ocean"

Key: C minor, Time Signature: 2/2, Tempo: Molto allegro con fuoco

This is an exercise in arpeggios for both hands. They rush from low to high registers and then sweep down from high to low. Therefore, effective weight transfer of the upper body and rapid position shifts of both hands are required. A powerful melodic line emerges from the arpeggios through accents and notes indicated by quarter notes.

Cortot, in his edited score, pointed out the necessity of differentiating accents and legato solely with the fingers, and using the pedal only to sustain the notes that form the theme. This suggests that over-reliance on the pedal can lead to a muddy sound and diminish the desired effect.

The rapidly ascending and descending arpeggios are played powerfully throughout the piece, marked forte and fortissimo, and conclude resolutely with the strongest fortississimo.