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Other composers, such as [[Robert Schumann]] and [[Johannes Brahms]], who shied away from writing unabashed concert etudes,<ref>Brahms actually did later in life publish a set of 53 short exercises, not intended for concert use, and without an opus number.</ref> expressed their fascination with piano technique through hybrid-works. Schumann began his "Symphonic Etudes" (Op. 13) in 1834 under the inspiration of Chopin's Op. 10, and envisioned the work originally along these lines. What eventually came of the effort however was a half-hour long masterful set of variations, of which some were labelled "etude" and others merely "variation." In 1862 Brahms authored two set of variations after Paganini (Op. 35) which were subtitled "Studies for pianoforte," and not without reason - their nearly intractable difficulties led Clara Schumann, one of the great pianists of her age, to curse them under the moniker "Witch variations."<ref>Harold Schonberg, ''The Great Pianists'', 1987.</ref> Brahms also "fiddled" with the works of others, for example turning one of [[Schubert]]'s Op. 90 [[Impromptu]]s into a "Study for the left hand"]]. Also for the left hand only is the sublime arrangement of a [[Bach]] chaconne that ends his "Five Piano Studies" on works by Chopin, [[Carl Maria von Weber|Weber]] and Bach.

Other composers, such as [[Robert Schumann]] and [[Johannes Brahms]], who shied away from writing unabashed concert etudes,<ref>Brahms actually did later in life publish a set of 53 short exercises, not intended for concert use, and without an opus number.</ref> expressed their fascination with piano technique through hybrid-works. Schumann began his "Symphonic Etudes" (Op. 13) in 1834 under the inspiration of Chopin's Op. 10, and envisioned the work originally along these lines. What eventually came of the effort however was a half-hour long masterful set of variations, of which some were labelled "etude" and others merely "variation." In 1862 Brahms authored two set of variations after Paganini (Op. 35) which were subtitled "Studies for pianoforte," and not without reason - their nearly intractable difficulties led Clara Schumann, one of the great pianists of her age, to curse them under the moniker "Witch variations."<ref>Harold Schonberg, ''The Great Pianists'', 1987.</ref> Brahms also "fiddled" with the works of others, for example turning one of [[Schubert]]'s Op. 90 [[Impromptu]]s into a "Study for the left hand"]]. Also for the left hand only is the sublime arrangement of a [[Bach]] chaconne that ends his "Five Piano Studies" on works by Chopin, [[Carl Maria von Weber|Weber]] and Bach.

Early books of studies for the violin are as old as those for the piano. The repertoirs of various instruments have been enriched by the form - examples include six "Tango Etudes" for solo flute by Astor Piazzola]] and even for full orchestra – [[Igor Stravinsky]]’s “Four Studies for Orchestra” and Alan Rawsthorne’s “Symphonic Studies” are notable.

Early books of studies for the violin are as old as those for the piano. The repertoirs of various instruments have been enriched by the form - examples include six "Tango Etudes" for solo flute by Astor [[Piazzola]] and even for full orchestra – [[Igor Stravinsky]]’s “Four Studies for Orchestra” and Alan Rawsthorne’s “Symphonic Studies” are notable.

==References==

==References==