The origins of Chopin's two sets of Etudes, comprising 24 pieces in total, are twofold.

One origin lies in J.S. Bach's The Well-Tempered Clavier, specifically its preludes and fugues in 24 keys. While the compilation method of such collections was not Bach's invention, The Well-Tempered Clavier established a monumental standard as a model for all musical techniques and forms, and as a norm for learners. Indeed, many composers, both before Chopin (such as Clementi and Kalkbrenner) and after him (such as Liszt, Bartók, and Rachmaninoff, and even Paganini for instruments other than piano), have released collections of etudes as an homage to Bach. During the latter half of the 18th century, preludes and etudes were often paired; however, as the 19th century began, this combination became less suitable for the times, and they started to be composed as separate collections. Chopin himself also published 24 Preludes, Op. 28, in addition to his Etudes, Op. 10 and Op. 25.

The other origin, of course, lies in the collections of etudes written extensively as piano pedagogical works in the first half of the 19th century. These served as comprehensive examples of musical forms and performance techniques, as well as practical training programs. Chopin particularly drew inspiration from the works of Clementi, Moscheles, but he wrote his own etudes "in a unique way" that was absent in the etude collections of his predecessors. That is, each piece reflects Chopin's conviction that advanced etudes should also be advanced music. The reason these etudes are widely loved today, transcending the category of mere study exercises, is likely due to their lyricism, woven from beautiful melodies and harmonies—indeed, their status as advanced music. However, there is no doubt that, at least initially, these were indeed practice exercises for himself. In other words, unlike what Liszt later did, they were not composed with the term "étude" conceived as a genre name, nor as concert repertoire, nor as a means to display virtuosity to an audience. And the reason why these are still invariably assigned to learners as a task in the final stage of piano education today is that, through all 24 pieces, one can fully grasp not only the technique but also the essence of Chopin's musicality.

Etudes, Op. 25

Etudes, Op. 25, were also dedicated to Countess Marie d'Agoult, Liszt's partner, in homage to Liszt as a pianist.

The tonal relationships are even looser compared to Op. 10:

A♭ major - F minor - F major - A minor - E minor - G♯ minor - C♯ minor - D♭ major - G♭ major - B minor - A minor - C minor

If anything, there seems to be an awareness to avoid repeating the same key twice, but the conception as a tonal cycle is not very clear.

The composition dates largely follow Op. 10, but the majority were written in Paris. Chopin's first two years in Paris were a period of hardship, but he eventually gained recognition as a salon pianist and as a piano teacher for the ladies who graced the salons. There, the Etudes became an extremely effective commodity. This was because not only could one acquire performance techniques, but the results of practice could also directly serve as short pieces for salon concerts. Chopin renamed what he had called Exercices to Etudes and first published Op. 10. He then composed another 12 etudes, which became Op. 25. If the latter is perceived as richer in lyricism and more individual than the former, it is likely due to Chopin's own musical development and his awareness of their function as lesson material or salon pieces in Paris.

Op. 25 was also favored by Chopin himself for his own concerts.

No. 1 ('Aeolian Harp')

The common name comes from Schumann's critique.

The practice objective is the independence of the five fingers.

No. 2

The practice objective is playing different meters with both hands, and consistent piano volume control.

No. 3

The so-called inverted dotted rhythm in the right hand is also known as the 'Lombard rhythm'.

The practice objective is accurate playing of conflicting rhythms and hand position shifts.

No. 4

The practice objective is accurate leaps.

No. 5

The graceful middle section features a very Chopinesque melody.

The practice objective is right-hand expansion and wide arpeggiated chords in the left hand.

No. 6

Unusually for Chopin, this piece is based on trills.

The practice objective is playing double thirds in the right hand.

No. 7

The practice objective is the treatment of outer and inner voices in the right hand, and cantabile playing in the left hand.

No. 8

The practice objective is playing double sixths in both hands.

No. 9 ('Butterfly')

The practice objective is the alternation of legato and staccato in the right hand.

No. 10

The practice objective is octave playing and effective use of arm weight.

No. 11 ('Winter Wind')

The questioning four-bar introduction was later added at a friend's suggestion. This addition suddenly enhanced the lyricism of the piece, which otherwise, despite its transcendental virtuosity, might have fallen into monotonous repetition of the same melody.

The practice objective is right-hand passage work and managing fatigue.

No. 12 ('Ocean')

Despite the score being primarily a perpetual motion of sixteenth notes, one cannot help but marvel at the miraculous technique by which the melody emerges beautifully through the effect of accents.

The practice objective is agile hand position shifts.