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:::Well, we can't have any family men here at Conservapedia!
:::Well, we can't have any family men here at Conservapedia!
:::I'm still skeptical that the Transcendentals in their 1827 version were concert etudes, while the 1837 and 1848 versions (revised after he knew and had played the Chopin Op. 10 in public) were very much so. But I'll concede the point until I can find a more detailed source. Best to the family! [[User:JDWpianist|JDWpianist]] 19:16, 27 March 2009 (EDT)
:::I'm still skeptical that the Transcendentals in their 1827 version were concert etudes, while the 1837 and 1848 versions (revised after he knew and had played the Chopin Op. 10 in public) were very much so. But I'll concede the point until I can find a more detailed source. Best to the family! [[User:JDWpianist|JDWpianist]] 19:16, 27 March 2009 (EDT)
==More definitive==
AlanE, I've done my library-hunting, and found some confirmation of my suspicions. In the New Grove encylopedia, it talks of the origins of the concert study from its origins in the technical exercise, and says about Chopin: "The concert study attempts to combine the utility of a technical exercise with musical invention equivalent to that of other genres in the concert repertory. The consequent tension between these two aspects was not completely resolved until the studies of Chopin, whose etudes were the first to retain a firm position in the concert repertory."
About Liszt's early version of the Transcendentals, it says "They were based on 12 studies which have the modest didactic scope of the studies written by his teacher Czerny," and goes on to state that the 1837 versions were bonafide concert etudes after Chopin.
I also looked in the MGG (The German equivalent of Grove's), which stated simply that the concert etude was "minted" (prägen) with the publication of Chopin's op. 10. [[User:JDWpianist|JDWpianist]] 07:39, 8 April 2009 (EDT)