Posts in Chopin

Chopin - Nocturne in B major Op. 9 No. 3 - Music | History The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832, published that year, and dedicated to Madame Marie Pleyel. The second nocturne of the work is regarded as Chopin's most famous piece. It is in ternary form A-B-A. The first section is marked allegretto. The main theme is chromatic, but filled with nostalgic energy. The second contrasting section, Agitato in B minor, is a very dramatic one with a combined melody and counter-melody in the right hand and continuous 8th note arpeggios in the left, which requires an amount of virtuosity. The piece is full of coloratura ornaments, and ends with a wide chord in the left hand accompanied with right hand triplets in a high octave to lead to a legatissimo smorzando adagio (senza tempo). We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #Nocturne #Chopin

Chopin - Bourrée No. 1 & No. 2 - Music | History The bourrée originates in Auvergne in France. It is sometimes called the "French clog dance" or a "branle of the sabots". First mentioned as a popular dance in 1665 in Clermont-Ferrand, it still survives in Auvergne in the Massif Central and in the department of Ariège and is danced during bals folk in France and in other countries. The present-day dance in lower Auvergne, also called Montagnarde (Montanhardas), is in triple time while that of high Auvergne called Auvergnate (Auvernhatas) is in double time. Modern variants termed bourrées are danced as partner dances, circle dances, square dances and line dances. However bourrées have been composed as abstract musical pieces since the mid-16th century. Michael Praetorius mentions it in his musical compendium Syntagma musicum and introduces it as a dance in his Terpsichore. However, there is no early dance notation and it is impossible to assess the early interaction of the folk dance and the courtly dance. Musically, the bourrée took on the common binary form of classical dance movements, sometimes extended by a second bourée, the two to be played in a grand ternary form; A–(A)–B–A. Marguerite de Navarre, who was sister to the King of Sweden, introduced the dance to the French court in 1565 and it was popular until the reign of Louis XIII (1601-1643) and opened many balls, but the bourrée took some time to appear in the early ballet dance notation of the French baroque theatre. The step with two movements is not illustrated by Feuillet but appears in Rameau as the "true" pas de bourée, the simpler step, with one movement, is identified with the fleuret. The basic step, with one initial movement (i.e. a plié on the supporting leg) and three subsequent changes of weight in a measure, can be performed in a great many variations, and varieties of this step appear commonly throughout the notated dances that were published in the eighteenth century, starting with Feuillet in 1700. The minuet step is a pas composé, a step composed of more basic steps. The pas de bourée of one movement is the second half of the most common minuet step, the minuet step of two movements, or "one and a fleuret", as the English master Tomlinson described it. The rare pas de bourée of two movements, mentioned above, occurs as a graceful variation in some recorded passapied, as part of a minuet step of three movements. As later formalised in classical ballet the skipping step of the bourrée became a quick, gliding step, often en pointe or demi-pointe, one of the most-used step sequences of ballet. A pas de bourrée, more commonly known as the "behind side front" or "back side front", is a quick sequence of movements often taken in preparation for a larger step. In one account it begins with an extension of the first leg while demi plié, closing it to the second as both transit to relevé, extending the second leg to an open position and again closing first to second in demi plié , or with legs straight if quick or as the final step of an enchainement. There are several variants. A pas de bourrée piqué picks up the feet in between steps. In his Der Vollkommene Capellmeister (Hamburg, 1739), Johann Mattheson wrote of the bourrée, "its distinguishing feature resides in contentment and a pleasant demeanor, at the same time it is somewhat carefree and relaxed, a little indolent and easygoing, though not disagreeable". Johann Sebastian Bach often used the bourrée in his suites as one of the optional dance movements that come after the sarabande but before the gigue, and he also wrote two short bourrées in his Notebook for Anna Magdalena Bach. That in his Lute Suite in E Minor (BWV 996) is especially popular. Handel wrote several bourrées in his solo chamber sonatas (for example the fourth movement of his Oboe sonata in C minor); however, perhaps his best-known is the seventh movement of the Water Music (Handel) suite. In the 19th century Frédéric Chopin and Emmanuel Chabrier wrote bourrées for the piano (such as the latter's Bourrée fantasque, composed 1891). The Victorian English composer, Sir Hubert Parry included a bourrée in his Lady Radnor Suite (1894). We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #StayHome #Chopin

Chopin - Preludes Op. 28 - No. 1-24 - Music | History Frédéric Chopin wrote a number of preludes for piano solo. His cycle of 24 Preludes, Op. 28, covers all major and minor keys. In addition, Chopin wrote three other preludes: a prelude in C♯ minor, Op. 45; a piece in A♭ major from 1834; and an unfinished piece in E♭ minor. These are sometimes referred to as Nos. 25, 26, and 27, respectively. Chopin's 24 Preludes, Op. 28, are a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838–39 and where he had fled with George Sand and her children to escape the damp Paris weather. In Majorca, Chopin had a copy of Bach's The Well-Tempered Clavier, and as in each of Bach's two sets of preludes and fugues, his Op. 28 set comprises a complete cycle of the major and minor keys, albeit with a different ordering. The manuscript, which Chopin carefully prepared for publication, carries a dedication to the German pianist and composer Joseph Christoph Kessler. The French and English editions (Catelin, Wessel) were dedicated to the piano-maker and publisher Camille Pleyel, who had commissioned the work for 2,000 francs (equivalent to nearly $30,000 in present day). The German edition (Breitkopf & Härtel) was dedicated to Kessler, who ten years earlier had dedicated his own set of 24 Preludes, Op. 31, to Chopin. Whereas the term "prelude" had hitherto been used to describe an introductory piece, Chopin's pieces stand as self-contained units, each conveying a specific idea or emotion. He thus imparted new meaning to a genre title that at the time was often associated with improvisatory "preluding". In publishing the 24 preludes together as a single opus, comprising miniatures that could either be used to introduce other music or as self-standing works, Chopin challenged contemporary attitudes regarding the worth of small musical forms. Whereas Bach had arranged his collection of 48 preludes and fugues according to keys separated by rising semitones, Chopin's chosen key sequence is a circle of fifths, with each major key being followed by its relative minor, and so on (i.e. C major, A minor, G major, E minor, etc.). Since this sequence of related keys is much closer to common harmonic practice, it is thought that Chopin might have conceived the cycle as a single performance entity for continuous recital. An opposing view is that the set was never intended for continuous performance, and that the individual preludes were indeed conceived as possible introductions for other works. Chopin himself never played more than four of the preludes at any single public performance. Nowadays, the complete set of Op. 28 preludes has become repertory fare, and many concert pianists have recorded the entire set, beginning with Ferruccio Busoni in 1915, when making piano rolls for the Duo-Art label. Alfred Cortot was the next pianist to record the complete preludes in 1926. As with his other works, Chopin did not himself attach names or descriptions to any of the Op. 28 preludes, in contrast to many of Robert Schumann's and Franz Liszt's pieces. We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Etude Op. 25 No. 4 - Music | History 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. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style." We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Etude Op. 25 No. 3 - Music | History 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. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style." We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Etude Op. 25 No. 2 in F minor - 'The Bees'- Music | History 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. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style." We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Polonaise in G sharp minor, B 6 - Music | History Despite the key rarely being used in orchestral music other than to modulate, it is not entirely uncommon in keyboard music, as in Piano Sonata No. 2 by Alexander Scriabin, who actually seemed to prefer writing in it. It is also found in the second movement in Shostakovitch's 8th String quartet. If G-sharp minor is used, composers generally write B♭ wind instruments in the enharmonic B-flat minor, rather than A-sharp minor to facilitate reading the music (or A instruments used instead, giving a transposed key of B minor). Where available, instruments in D♭ can be used instead, giving a transposed key of the enharmonic G minor, rather than F minor, while the E horns would have parts written in the key of E minor. Few symphonies are written in G-sharp minor; among them are Nikolai Myaskovsky's 17th Symphony, Elliot Goldenthal's Symphony in G-sharp minor (2014) and an abandoned work of juvenilia by Marc Blitzstein. Frédéric Chopin composed a Polonaise in G-sharp minor, opus posthumous in 1822. His Étude No. 6 is in G-sharp minor as well. We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Sonata No. 2 in B flat minor - Music | History Frédéric Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, is a piano sonata in four movements. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by Bach and by Beethoven; Beethoven's twelfth piano sonata also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and is performed at funerals all over the world (including Chopin's own funeral), having become an archetypal evocation of death. We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Mazurka in D major, B 71 - Music | History Over the years 1825–1849, Frédéric Chopin wrote at least 59 mazurkas for piano, based on the traditional Polish dance: • 58 have been published o 45 during Chopin's lifetime, of which 41 have opus numbers o 13 posthumously, of which 8 have posthumous opus numbers • 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism. Chopin based his mazurkas on the traditional Polish folk dance, also called the mazurka (or "mazur" in Polish). However, while he used the traditional mazurka as his model, he was able to transform his mazurkas into an entirely new genre, one that became known as a "Chopin genre". Chopin started composing his mazurkas in 1825, and continued composing them until 1849, the year of his death. The number of mazurkas composed in each year varies, but he was steadily writing them throughout this time period. Since Chopin's mazurkas connect to the already established traditional Polish mazurka, some of the characteristics of the genre remain the same in his interpretation. For example, both the traditional mazurka and Chopin's version contain a great deal of repetition. This can mean repetition of a single measure or small group of measures, repetition of a theme, or even repetition of an entire section. This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin did not compose his mazurkas so they could be danced to, it is clear Chopin kept the original form in mind. Furthermore, many of the rhythmic patterns of the traditional mazurka also appear in Chopin's compositions so they still convey the idea of a dance, but a more "self-contained, stylized dance piece." In keeping with this idea, Chopin did try to make his mazurkas more technically interesting by furthering their chromaticism and harmony, along with using classical techniques, such as counterpoint and fugues. In fact, Chopin used more classical techniques in his mazurkas than in any of his other genres. One of these techniques is four part harmony in the manner of a chorale. We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin

Chopin - Etude Op. 25 No. 1 in A flat major - Music | History 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. Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student. The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, Johann Baptist Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's Études not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form. They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Contemporary Polish musicologist Tadeusz A. Zielinski wrote, on Op. 10, that "not only did they become an orderly demonstration of a new piano style and the formulas peculiar to it, but also an artistic ennoblement of this style." We are a educational channel specializing in history of classical music. Our goal is to spread classical music to the greatest number of people. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Chopin