INTRODUCTION

The publication of the Douze grandes études, Op. 10, in 1833 provided the musical world with its first conclusive evidence of the depth of Chopin's creative talent. In many ways this was an appropriate and symbolic form of announcement. The early development of the piano etude, in which Chopin played a crucial part, was intricately associated with developments in piano technique, piano composition and the instrument itself. It was to the piano that Chopin was to devote nearly all his important work. It was from the sounds and performance idioms of the piano that he drew his inspiration, this being nowhere so evident as in his etudes. Inasmuch as the Op. 10 Etudes disclosed the true quality of that inspiration for the first time, they signified a vital stage in Chopin's own development, as both composer and pianist. They mark the end of his artistic adolescence, the clear beginnings of a maturity that was resoundingly confirmed by the contents of his second collection, Op. 25, published in 1837.

‘Chopin's Etudes stand alone’, pronounced Tovey in 1900; ‘… [they] are the only extant great works of art that really owe their character to their being Etudes.’ It is true that the etudes occupy a special position in the vast repertory of didactic piano music. For one thing, they stand at the apex of a transition from early nineteenth-century prototypes (generally modest in expressive scope and technical function) to the extroverted concert etudes of Liszt, Alkan and others.