Program Notes - Chopin Marathon, 2 March 2025

Chopin’s 24 Études are the cornerstones of pianistic technique, offering both technical challenges and musical depth. These works not only target specific technical aspects but also enhance the performer’s expressiveness. Below is a concise overview of the key technical focus of each étude.

Études, Op. 10

Étude No. 1 in C major, Op. 10

The right hand plays rapid, wide arpeggios that create a flowing, bow-like motion, while the left hand provides solid support with chorale-like octaves. It enhances large hand movements and hand independence.

Étude No. 2 in A minor, Op. 10

A study in chromatic scales, the weaker fingers of the right hand must navigate swiftly, while the stronger fingers perform detached chords. It strengthens finger independence and control over chromatic passages.

Étude No. 3 in E major, Op. 10

This piece focuses on balancing melody and accompaniment within the same hand. The right hand alternates between melodic lines and accompaniment, improving hand coordination and clarity in complex textures.

Étude No. 4 in C# minor, Op. 10

A study in controlling rapid runs with the 1st, 2nd, 3rd, and 4th fingers. It improves evenness and finger strength, especially in fast, chromatic passages.

Étude No. 5 in G flat major, Op. 10

The right hand plays exclusively on the black keys, while the hidden melody lies in the left hand. This study improves hand flexibility and the ability to bring out contrasting voices in unconventional registers.

Étúde No. 6 in E flat minor, Op. 10

Focuses on dynamic contrasts and fast alternations between the hands. It strengthens phrasing and expressive control while maintaining clarity in fast, alternating passages.

Étude No. 7 in C major, Op. 10

The right hand plays repeated notes with the thumb and index fingers, while the weaker fingers of the left hand perform awkward intervals. This develops coordination and finger strength, particularly in rapid, repetitive passages.

Étude No. 8 in F major, Op. 10

This étude features rapid runs in the right hand, with the left hand maintaining accentuated rhythmic patterns. It refines precision in fast passages while managing contrasting rhythmic structures between the hands.

Étude No. 9 in F minor, Op. 10

A study in left-hand rotation, focusing on smooth, even arpeggios with minimal effort. This enhances flexibility and control, particularly for wide intervals and fast left-hand arpeggios.

Étude No. 10 in A flat major, Op. 10

This piece requires articulation and clarity in the right hand, with detached notes, while the left hand spans large intervals. It refines coordination and clarity, especially when the left hand covers a wide range.

Étude No. 11 in E flat major, Op. 10

A study of rapid alternations between the hands, improving hand coordination and speed, while maintaining evenness and clarity in both hands.

Étude No. 12 in C minor, Op. 10

Focused on developing strength and precision in the left hand, which plays rapid, repeated notes. It strengthens the left hand for fast, powerful passages, ensuring evenness and control.

Études, Op. 25

Étude No. 1 in A flat major, Op. 25

Develops smooth, flowing legato and hand rotation for wide intervals, helping to execute expansive melodic lines with ease. This improves control over large, lyrical phrases, essential for works with wide intervallic leaps.

Étude No. 2 in F minor, Op. 25

Focusing on precision, the rapid left-hand accompaniment and fast right-hand passages develop hand coordination and speed. It builds clarity and control over both hands, especially in contrapuntal textures.

Étude No. 3 in F major, Op. 25

This étude is a study in rhythm, with both hands performing galloping patterns while playing four distinct voices and different accents throughout. It strengthens rhythmic precision and independence, requiring careful articulation and coordination between the hands.

Étude No. 4 in A minor, Op. 25

A study for leaps, where the left hand executes large, galloping jumps while the right hand provides an upbeat melody. This strengthens control over wide jumps and rapid transitions, essential for executing contrasting textures.

Étude No. 5 in E minor, Op. 25

Characterized by dissonant minor seconds in the outer voices that create an unsettling “wrong note” effect, while the middle section presents a lyrical bel-canto melody in the left hand and flowing right-hand runs. This piece refines control over dissonance and lyrical expression.

Étude No. 6 in G# minor, Op. 25

A study for double-thirds trills and scale passages in the right hand, while the left hand plays a singing-like melody. It builds precision and control in rapid passage work and improves hand coordination.

Étude No. 7 in C# minor, Op. 25

Believed to imitate a duet between the piano and cello, with the left hand carrying the cello part throughout while the right hand accompanies. This étude develops the ability to create contrasting voices and sustain a melodic line in one hand while accompanying in the other.

Étude No. 8 in D flat major, Op. 25

A study for double sixths, requiring precision in fast, simultaneous intervals. It improves control over distant intervals and strengthens the hand for executing wide, fast passages.

Étude No. 9 in G flat major, Op. 25

This étude focuses on articulation and the opening of the right hand, while the left hand performs galloping jumps. It improves articulation and precision in rapid passages while managing large leaps and dynamic contrasts.

Étude No. 10 in B minor, Op. 25

A study in octaves, with virtuosic outer parts and a lyrical middle section featuring legato right-hand octaves. This piece enhances strength and clarity in octave playing and refines the ability to alternate between virtuosic outer sections and lyrical inner parts.

Étude No. 11 in A minor, Op. 25

Focused on hand rotation and whirlwind-like passages, with a rhythmic melody in the left hand. This étude improves flexibility, speed, and the ability to manage fast, sweeping movements with rotational hand motion.

Étude No. 12 in C minor, Op. 25

A sweeping étude, resembling waves of the ocean, that requires rapid shifts between hand positions up and down the keyboard. It trains the pianist to navigate quick hand position changes with fluidity and precision, especially across wide ranges of the keyboard.

Carry-over Benefits to the Rest of the Repertoire

Mastering Chopin’s Études builds a comprehensive technical foundation essential for all pianists. They develop finger independence, hand coordination, dynamic control, and precision—skills that are crucial for playing not only Chopin’s works but also the broader Romantic, Impressionistic, and modern repertoires. These études also foster expressive playing, with many focusing on the subtleties of phrasing and voicing, empowering pianists to tackle complex works by composers like Liszt, Brahms, Rachmaninoff, and others with musicality and technical mastery.

Written by Phu Koanantakool