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This piece is a lyrical and musical study of double notes. It requires precise pedaling, flexible and independent figures, and agility. The piece has very long, defined legato melodic lines that are contrasted by a staccato middle section.

By Alexander Gavrylyuk

By Vladimir Kuznetsov Venue

By Vladimir Ashkenazy

By Sviatoslav Richter

By Nikolai Lugansky

Etude – tableaux Op. 39 No. 7 in C minor sheet music

This aggressive and daunting piece opens with threatening chromatic octave runs low on the keyboard, answered by quick, chattering treble figures that eventually transform themselves into a march. The music grows hectic and, having reached presto, sounds nearly out of control. The effect of the piece is seemingly mysterious yet fully unified. Referred to as “Little Red Riding Hood and the Wolf”, the piece ends with the chromatic runs sounding as though the wolf swallowed Red Riding Hood whole.

By Evgeny Kissin

By Alexander Gavrylyuk

By Alexei Sultanov

By Vladimir Horowitz

By Nikolai Lugansky

By Vladimir Ashkenazy

Etude – tableaux Op. 39 No. 5 in E-flat minor sheet music

By Alexander Gavrylyuk

By Sviatoslav Richter

By Vladimir Sofronitsky

By Nikolai Lugansky

By Vladimir Ashkenazy

Etude – tableaux Op. 39 No. 4 in B minor sheet music

By Andrei Gavrilov

By Sviatoslav Richter

By Vladimir Ashkenazy

By Nikolai Lugansky

Etude – tableaux Op. 39 No. 3 in F sharp minor sheet music

Also known as “The Sea and the Seagulls”. Though technically simple, the work contains many musical textures that make it a difficult study in touch. This melancholy piece requires much restraint from the performer to project the sedate mood of this etude. A sensitive performance is required to keep the performance from being monotonous. The technical workings of the etude is the 2 over 3 timing, the crossing hands, and large span of the arpeggiated figures for the left hand. The ending is tragic and poetic.

This agitated, passionate étude exploits some of the piano’s resources almost unrelentingly, demanding a tireless right hand, an often daringly syncopated left hand and considerable dexterity to illuminate inner voices. Technically, the music is in an almost continual climax. It bares a resemblance to Chopin’s Prelude in E flat minor.

A big, loud piece with prevalent patterns of leaps in the left hand, creating a huge roar. The piece has grand dissonances but also contains a gorgeous romantic interlude. There are two references to the Prélude in C-sharp minor; could this piece be a venting of his anger and frustration at the public’s fascination with and demand for him to play that early prélude?

A melancholy piece whose sixteenth note accompaniment interweaves between hands. The main difficulty of the piece is facilitating smooth alterations with the hands without affecting the fluency of the melody.

Nicknamed “Scene at the Fair” as confessed by Rachmaninoff himself to Respighi, the piece conjures a playful and vibrant atmosphere, with its blaring fanfare opening thirds and wild alternating chords. The middle section poses a great pianistic problem with huge leaps of the hand that lead to chordal actions, which at points are 10th chords, rendering playing the figures at the correct tempo much more difficult. The piece requires strength, precision,endurance, rhythmic control, and dynamic and tonal balance.

By Abdel Rahman El Bacha

By Sviatoslav Richter

By Vladimir Horowitz

By Vladimir Ashkenazy

By Nikolai Lugansky

Etude – tableaux Op. 33 No. 5 E flat minor sheet music

By Abdel Rahman El Bacha

By Nikolai Lugansky

Etude – tableaux Op. 33 No. 4 D minor sheet music

By Abdel Rahman El Bacha

By Vladimir Ashkenazy

By Nikolai Lugansky

Etude – tableaux Op. 33 No. 3 in C minor sheet music

By Abdel Rahman El Bacha

By Hélène Grimaud

By Vladimir Ashkenazy

By Vladimir Horowitz

By Nikolai Lugansky

Etude – tableaux Op. 33 No. 2 C major sheet music

This piece is a study on alternating hands and syncopations. The piece shifts unsteadily throughout in time signature from 2/4, 3/4, 4/4, 5/4, and 3/2. Some find parallels between this piece and Chopin’s Etude Op. 25 No. 4, jestingly saying that Rachmaninoff played it while writing this etude

By Valentina Lisitsa

Etude Op. 25 No. 12 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 11 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 10 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 9 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 8 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 7 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 6 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 5 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 4 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 3 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 2 sheet music

By Valentina Lisitsa

Etude Op. 25 No. 1 sheet music

By Freddy Kempf

Etude Op. 10 No. 12 sheet music

By Freddy Kempf

Etude Op. 10 No. 11 sheet music

By Freddy Kempf

Etude Op. 10 No. 10 sheet music

By Freddy Kempf

Etude Op. 10 No. 7 sheet music

By Freddy Kempf

Etude Op. 10 No. 7 sheet music

By Freddy Kempf

Etude Op. 10 No. 7 sheet music

By Freddy Kempf

By Freddy Kempf

Etude Op. 10 No. 5 sheet music

By Freddy Kempf

Etude Op. 10 No. 4 sheet music

By Freddy Kempf

Etude Op. 10 No. 3 sheet music

By Freddy Kempf

Etude Op. 10 No. 2 sheet music

By Vladimir Ashkenazy

Etude Op. 10 No. 1 sheet music