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Chopin Excerpt from the beginning of the Étude Op. 25, No. 5. Étude Op. 25, No. 5 in E minor, is a technical study composed by Frédéric Chopin in 1837. Marking a serious departure in the expected technique developed previously, Chopin wrote this étude with a series of quick, dissonant minor seconds.
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.
Two important collections are the Études, Op. 10 and 25 (which are a staple of that genre for pianists), and the 24 Preludes, Op. 28 (a cycle of short pieces paired in a major key/relative minor key pattern following the circle of fifths in clockwise steps).
Opus 25 No. 12. Study in C ♯ minor (Listed as "No. 43" in the 1903 list. It was a different study from the current No. 43 (solo for the left hand), and Hinderer wrote that it was a study for both hands.) Study (No. 49) Op. 25 No. 4 and Op. 25 No. 11 combined (Listed as "No. 49" in the 1903 and 1909 lists.
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 Maria Wodzińska, 1835. Most of Chopin's compositions were for solo piano, although he did compose two piano concertos (his concertos No. 1 and No. 2 are two of the romantic piano concerto repertoire's most often-performed pieces) as well as some other music for ensembles.
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 ...
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