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American music critic James Huneker (1857–1921) calls the étude "a dark doleful nocturne.. […] the melody is full of stifled sorrow." [13] Italian composer and editor Alfredo Casella (1883–1947) speaks of "meditated grief" and thinks "it is difficult to conceive an elegy more severe and sober than this study."
The 19th étude, for example, is subtitled the "Lohengrin Etude", as it is written using music from Act Three, Scene Three of Wagner's Lohengrin (opera). [9] Following the creation of his High School of Cello Playing book, Popper created two more sets of études directed at more novice and intermediate audiences.
Clean copy manuscript of Chopin's Etude Op. 10 No.3 with the tempo indication Vivace ma non troppo (and legatissimo). Polish pianist and editor Jan Ekier (1913–2014) writes in the Performance Commentary to the Polish National Edition that this étude is "always performed slower or much slower than is indicated by [Chopin's] tempo [M.M. 100 ...
Opening of the Revolutionary Étude. 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").
Hans Werner Henze (1926–2012): Sinfonische Etüden for orchestra (1956, rev. 1964); Etude philarmonique, for solo violin (1979) Karlheinz Stockhausen (1928–2007): Konkrete Etüde, musique concrète, as well as Studie I and Studie II for electronic music; Easley Blackwood (1933–2023): Twelve Microtonal Etudes for Electronic Music Media, Op. 28
Musicologist Hugo Leichtentritt (1874–1951) calls the étude a "moto perpetuo". [10] The transparent texture of nonstop semiquavers accompanied by a light "dancing" bass has its forerunners in Bach's Prelude No. 5 in D major (BWV 850) from the first book of The Well-Tempered Clavier and resembles other virtuoso pieces from around 1830 such as Paganini's Moto Perpetuo for violin and piano.
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