YUNCHAN LIM

When Chopin published his first book of Études in 1833, pianists’ technical studies were everywhere and in high demand, but rarely sounded more than academic exercises. Chopin’s, though, were beautiful, harmonically and texturally sophisticated character pieces whose challenges went beyond finger strength and pedal use, to the subtleties of phrasing and nuance, all with groundbreaking use of chromaticism. Opus 10 opens on ‘Waterfall’ No. 1 in C major, and includes ‘Black Key’ No. 5 in G flat major; also two contrasting laments for exiled Chopin’s Polish homeland: ‘Tristesse’ No 3 in E major, and ‘Revolutionary’ No. 12 in C minor. In 1837, Opus 25 presented the remaining keys, moving from ‘The Harp’ No. 1 in A flat major, to ‘Bees’ No. 2 in F minor, and featuring the set’s longest, ‘Cello’ No. 7 in C sharp minor. The Trois Nouvelles Études were then a commission for an 1840 piano tutor, the first two dealing with polyrhythms, and the third, articulation.