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Étude Op. 25, No. 6, in G-sharp minor, is a technical study composed by Frédéric Chopin focusing on thirds, trilling them at a high speed.Also called the Double Thirds Étude, it is considered one of the hardest of Chopin's 24 Études, ranking the highest level of difficulty according to the Henle difficulty rankings.
Chopin at 25, by his fiancée Maria Wodzińska, 1835. The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number.
Étude Op. 25, No. 3, in F major, is a technical study composed by Frédéric Chopin in 1836. The romanticized nickname of this piece (not given by Chopin, who thought that idea was repulsive) is "The Horseman" or "The Knight", probably because of its "galloping" style.
Étude Op. 25, No. 1 in A-flat major is a solo piano work composed by Frédéric Chopin in 1836, and published in 1837. The work consists entirely of rapid arpeggios and harmonic modulations based on A-flat major .
Incipit of the Étude Op. 25, No. 9. Étude Op. 25, No. 9 in G-flat major, known as the Butterfly étude, is an étude by Frédéric Chopin.The title Butterfly was not given by Chopin (as is true for all Chopin pieces with such titles); however Arthur Friedheim said, "while some titles were superfluous, this one is inadequate."
Excerpt from the beginning of the Étude Op. 25 No. 4. Étude Op. 25, No. 4 in A minor is a technical study composed by Frédéric Chopin. It is marked Agitato at the head. This piece is like a polka. The technique explored in this piece is the performance of off-beat staccato chords set against a regular on-beat bass. This is an example of ...
Étude Op. 25, No. 12 in C minor is one of Frédéric Chopin's formal studies for the piano, opus 25, dedicated À Madame la Comtesse d'Agoult. It was first published in 1837 in French, German, and English.
Étude Op. 25, No. 7 in C-sharp minor is a solo piano technical study composed by Frédéric Chopin in 1834. Markedly different from Chopin's overall scheme of technical virtuosity, this étude focuses instead on perfect sound and phrasing, particularly for the left hand.