This set of etudes consists of two volumes, each comprising six pieces. Volume 1 was published in 1837, followed by Volume 2 in 1838. This Op. 26, which is the subject of the current performance, represents Thalberg's sole collection of etudes. Although Thalberg is predominantly recognized today as a composer of paraphrases based on operatic themes, he too was influenced by the 'etude boom' of the 1830s, leading him to compose a distinguished collection of etudes. In adherence to the conventions of the etude genre, each piece is constructed around a limited rhythmic motif. Each of these motifs is designed to address specific technical objectives, such as finger agility, extensive leaps, hand expansion, and crossing, and is prescribed to be executed at an extreme tempo. Even when the metronome marking indicates a slow tempo, achieving the prescribed speed is considerably challenging due to the subdivision of each beat into numerous small notes. However, according to Marmontel, a contemporary and professor at the Paris Conservatoire, Thalberg's performances, much like Chopin's, were characterized by his masterful control of sound through skillful pedaling, resulting in an impression of utmost elegance and clarity, entirely devoid of the harshness or muddiness that might arise from forceful or heavy-handed articulation.

As previously noted in the composer's biographical section, this etude also exemplifies Thalberg's characteristic compositional technique of placing the melody in the middle register, enveloped by arpeggiated chords. For illustrative purposes, the opening of No. 4 from Volume 2 is presented.

Given Thalberg's frequent incorporation of operatic melodies into his compositions, it is evident that he devoted considerable attention to the meticulous refinement of his melodic lines.