Difference between revisions of "Etude"
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An '''etude''' (French: ''étude'', “study”) is a form of musical composition originally intended to aid or improve the technique of the player. As the [[Italian]] ''studio'', there are examples of the form dating back to the first half of the 18th century. With the development of the modern [[piano]] in the early 19th century, and its growing popularity as a household instrument, books of etudes appeared containing pieces, each of which instructed on a particular facet of technique. | An '''etude''' (French: ''étude'', “study”) is a form of musical composition originally intended to aid or improve the technique of the player. As the [[Italian]] ''studio'', there are examples of the form dating back to the first half of the 18th century. With the development of the modern [[piano]] in the early 19th century, and its growing popularity as a household instrument, books of etudes appeared containing pieces, each of which instructed on a particular facet of technique. | ||
| − | The form entered the concert hall with [[Franz Liszt]]’s ''Études en 12 exercises'' in about 1827 (These pieces were to finally become the ''Études d’exécution transcendante'' – or “''Transcendental studies''” - among the most difficult to play of all piano works.); however it is [[Frédéric Chopin]]’s two sets (Opp. 10 and 25, published in 1833 and 1837) that established the etude as an artform; and are the most frequently performed today. Of the various other sets of studies written for the piano, those of [[Claude Debussy]], [[Sergei Rachmaninoff]], and Alexander Scriabin have the most lasting popularity. | + | The form entered the concert hall with [[Franz Liszt]]’s ''Études en 12 exercises'' in about 1827 (These pieces were to finally become the ''Études d’exécution transcendante'' – or “''Transcendental studies''” - among the most difficult to play of all piano works.); however it is [[Frédéric Chopin]]’s two sets (Opp. 10 and 25, published in 1833 and 1837) that established the etude as an artform; and are the most frequently performed today. Of the various other sets of studies written for the piano, those of [[Claude Debussy]], [[Sergei Rachmaninoff]], and [[Alexander Scriabin]] have the most lasting popularity. |
Etudes have been written for other instruments and even for full orchestra – [[Igor Stravinsky]]’s “Four Studies for Orchestra” and Alan Rawsthorne’s “Symphonic Studies” are notable. | Etudes have been written for other instruments and even for full orchestra – [[Igor Stravinsky]]’s “Four Studies for Orchestra” and Alan Rawsthorne’s “Symphonic Studies” are notable. | ||
[[Category: Musical forms]] | [[Category: Musical forms]] | ||
Revision as of 19:37, April 2, 2009
An etude (French: étude, “study”) is a form of musical composition originally intended to aid or improve the technique of the player. As the Italian studio, there are examples of the form dating back to the first half of the 18th century. With the development of the modern piano in the early 19th century, and its growing popularity as a household instrument, books of etudes appeared containing pieces, each of which instructed on a particular facet of technique.
The form entered the concert hall with Franz Liszt’s Études en 12 exercises in about 1827 (These pieces were to finally become the Études d’exécution transcendante – or “Transcendental studies” - among the most difficult to play of all piano works.); however it is Frédéric Chopin’s two sets (Opp. 10 and 25, published in 1833 and 1837) that established the etude as an artform; and are the most frequently performed today. Of the various other sets of studies written for the piano, those of Claude Debussy, Sergei Rachmaninoff, and Alexander Scriabin have the most lasting popularity.
Etudes have been written for other instruments and even for full orchestra – Igor Stravinsky’s “Four Studies for Orchestra” and Alan Rawsthorne’s “Symphonic Studies” are notable.