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Formats and Editions
1. Etude No.1 in C, Op.10
2. Etude No.2 in a, Op.10
3. Etude No.3 in E, Op.10
4. Etude No.4 in c#, Op.10
5. Etude No.5 in G flat, 'Black Keys', Op.10
6. Etude No.6 in e flat, Op.10
7. Etude No.7 in C, Op.10
8. Etude No.8 in F, Op.10
9. Etude No.9 in f, Op.10
10. Etude No.10 in A flat, Op.10
11. Etude No.11 in E flat, Op.10
12. Etude No.12 in c, 'Revolutionary', Op.10
13. Etude No1 in A flat., Op.25
14. Etude No.2 in f, Op.25
15. Etude No.3 in F, Op.25
16. Etude No.4 in a, Op.25
17. Etude No.5 in e, Op.25
18. Etude No.6 in g#, Op.25
19. Etude No.7 in c#, Op.25
20. Etude No.8 in D flat, Op.25
21. Etude No.9 in G flat, Op.25
22. Etude No.10 in b, Op.25
23. Etude No.11 in a, 'Winter Wind', Op.25
24. Etude No.12 in c, Op.25
More Info:
Étude Op. 25, No. 10 features many unique aspects not present in most Chopin's études, including a significant and distinctive ternary form. The first theme is presented as a series of eighth note-tuplets in cut time, played at a very fast tempo of Allegro. The second theme is in B minor's parallel major, B major, and in triple metre. The second theme is repeated four times, and develops into a variation of the first theme, returning to cut time and B minor. Copious pedal point notes and phrase markings are present in the second theme, but the entire étude lacks any pedal indications. Similar to the Op. 10, No. 4 étude, Chopin emphasizes legato playing through the phrasing and (lack of) pedal marking. Throughout the entire work, Chopin marks only five dynamic markings; the entire first theme is to be played forte to fortissimo, and the whole second theme is piano.
