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Étude Op. 10, No. 12 in C minor, known as the "Revolutionary Étude" or the "Étude on the Bombardment of Warsaw", [1] is a solo piano work by Frédéric Chopin written c. 1831, and the last in his first set, Études, Op. 10, dedicated "à son ami Franz Liszt" ("to his friend Franz Liszt").
Études Op. 10, Études Op. 25 at Chopin Online, University of Cambridge; Études Op. 10, Études Op. 25: Scores at the International Music Score Library Project; Free scores of the Etudes at Mutopia Project; Hans von Bülow's edition of the Études, Opp. 10 and 25 (Munich: J. Aibl, 1880) From Sibley Music Library Digital Scores Collection
Opus 10 No. 9. 1st Study in C ♯ minor; 2nd Study in F minor (imitation of Opus 25 No. 2) 3rd Study in F ♯ minor (left hand only) Opus 10 No. 10. 1st Study in D major; 2nd Study in A ♭ major (left hand only) Opus 10 No. 11. Study in A major (left hand only) This étude was also combined with the Opus 25 No. 3 étude. Opus 10 No. 12
Analysis of Chopin Etudes at Chopin: the poet of the piano; Études Op.10: Scores at the International Music Score Library Project; Op. 10, No. 10 played by Alfred Cortot; Op. 10, No. 10 played by Claudio Arrau; Op. 10, No. 10 played by Sviatoslav Richter; Op. 10, No. 10 played by Paul Badura-Skoda; Op. 10, No. 10 played by Vladimir Ashkenazy ...
Étude Op. 10, No. 3, in E major, is a study for solo piano composed by Frédéric Chopin in 1832. It was first published in 1833 in France, [1] Germany, [2] and England [3] as the third piece of his Études Op. 10. This is a slow cantabile study for polyphonic and expressive legato playing. In fact, Chopin himself believed the melody of the ...
Excerpt from Étude Op. 10, No. 4. Étude Op. 10, No. 4 in C ♯ minor, known as the Torrent étude, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, [1] Germany, [2] and England [3] as the fourth piece of his Études Op. 10.
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Étude Op. 10, No. 5 is known as the "Black Key Étude" as its right-hand part is entirely on black keys, except for one note. Leichtentritt states that the melodic character resulting from the use of black keys is "based on the pentatonic scale to which the piece owes its strangely playful, attractively primitive tint."