Why Is Chopin's Etudes Historically Important

Chopin pioneered the idea of creating a true artistic form from technical exercises, making his etudes historically important. Each etude has its own musical story to tell even though they adhere to a basic principle as a means to train and refine the performer’s technique. They are not simply dry and repetitive exercises like etudes prior to Chopin. There’s emotion behind his etudes that transcends from technicality and mere note playing to a true virtuosic artistry that is executed with delicate finery. This new development of technical exercises is a feature of a persistent musical aspect in Romantic period repertoire. Not only were these exercises used to improve the performer, they influenced other composers and became substantial material.

Overall these sets consisted of twenty seven total compositions known as etudes. Within these sets there are two separate collections consisted of twelve etudes known as Opus 10 and the other as Opus 25. The last set consisted of three and do not have opus numbers. These Etudes were revolutionary when they first appeared and set a foundation of a new system for technical piano playing. Nicknames were given for several of these works, but not by Chopin’s original creation of the Etudes. All twenty seven Etudes were published while Chopin was alive. Collection Opus 10 was composed between 1829 and1832 and was published in 1833. Opus 25 was composed between 1832 and 1836 and published in 1837. The last set of the final three Etudes was composed in 1839 and published in 1840 and

The elements used in this work are also found in the other etudes of Op. 10, though someone briefly. The composition is divided up into three different sections; the first section is measures 1-28, the second 29-48, and the last measures 49-84. Chopin uses the application of sudden diminuendos and crescendos that almost always follow harmonics placed in the left of with scales and arpeggios. An example of this is measures 75 and 80. Chopin demonstrates confliction dynamics that appear throughout the composition, this can be found in measure 10 where a crescendo is giving in the right hand and at the same time, the left hand is given a diminuendo. The melody is operatic in nature and almost sounds like a series of despairing cries of which are sung. The middle section, measures 29-48, uses the opening figurations through a series of modulations which is typical of Chopin’s style. The final section is where the opening theme is even further developed. Chopin develops the thematic material with a series of thirds and incorporates offbeat accents into the right hand melodic line. Chopin utilizes this to refine techniques that he introduces in the earlier