Moszkowski was not only a composer but also a virtuoso pianist. Consequently, many pieces in his 15 Etudes require advanced technique. However, all of these pieces are rich in musicality and are frequently performed in competitions and concerts. Pedagogically, they are generally used as preparatory material after completing Czerny's Op. 740 and before embarking on Chopin's Etudes.

No. 1: E major / E-dur, 3/4 time, Vivace

It is important to play with a clear separation of fingers while also feeling the larger musical phrases (in 4-bar units) of the melody. Additionally, when the notes are in the high register, effectively utilizing the strong beats can create a brilliant impression.

No. 2: G minor / g-moll, 2/4 time, Allegro brillante

From the beginning, a continuous stream of triplets in the left hand. Playing them f and Allegro brillante requires considerable practice. While practicing to play all notes evenly is necessary, ultimately, it is best to play by utilizing wrist rotation, while being aware of the main melodic movement on the beat.

No. 3: G major / G-dur, 4/4 time, Vivo e con fuoco

It is important to listen carefully to ensure that the three-note chords in both the right and left hands blend well. Practicing by isolating only the chords, and also by isolating the movement of the single 16th notes, are effective approaches.

No. 4: C major / C-dur, 4/4 time, Allegro moderato

The right hand should play legato. For the left hand, be aware that the weight should fall on the upper note of the two notes. There are sections where the right hand plays chords while simultaneously playing a single-note melody; it is advisable to practice these separately to ensure each part can be played with an independent touch.

No. 5: C major / C-dur, 4/4 time, Veloce e leggero

Play smoothly and lightly. This is an etude for scales. It is relatively easier and more approachable within the collection. Vary the dynamics from p to ff.

No. 6: F major / F-dur, 4/4 time, Presto

This is the most frequently performed piece from the collection on stage. Thorough practice is required to play the right hand lightly and smoothly, as if rolling. It is also important to grasp the progression of notes in the left hand and aim for a performance with strong momentum. It is interesting to enjoy the variations, such as sections played lyrically and those played playfully.

No. 7: E-flat major / Es-dur, 4/4 time, Allegro energico

An etude for arpeggios. Strength is required, but be careful not to create tension. It is best to play by relaxing the arm and effectively utilizing its weight. While being aware of the main melodic movement, also pay attention to the balance of the arpeggiated notes.

No. 8: C major / C-dur, 12/8 time, Allegro energico

Similar to No. 2, effective use of wrist rotation is essential. However, the difficulty is higher due to the chords mixed within the triplets. For this piece, it would be beneficial to first practice grasping the rhythm with the chord sections and the left hand.

No. 9: D minor / D-moll, 2/4 time, Allegro

An etude for rapid repeated octaves and shifts. The difficulty is high. In p sections, it is good to play with the image of swinging the palm down, using the wrist as a pivot.It is important not to tense up, but be careful not to make the fingertips too soft, as this will prevent sound production. In f sections, shifting the pivot to the elbow and playing with a single large burst of energy makes it easier to play.

No. 10: C major / C-dur, 4/4 time, Allegro

An etude for playing the remaining fingers with good separation while holding one note. Since this can easily strain the fingers, it is best not to force it from the beginning, but gradually increase the tempo. The held note must not only be pressed down but also continuously followed by the ear.

No. 11: A-flat major / As-dur, 12/8 time, Presto e con leggerezza

Along with No. 6, this piece is frequently performed. It requires balanced technique in both hands for smooth finger movements. Aim for a musical performance by being aware of the sparkle in the high register and the subtle shading seen when the timbre changes.

No. 12: D-flat major / Des-dur, 4/2 time, Presto

Along with Nos. 6 and 11, this piece is frequently performed. It repeatedly uses the same figuration while subtly changing the timbre, and each phrase is long, requiring a careful ear and concentration.

No. 13: A-flat minor / as-moll, 2/2 time, Molto animato

Rich in variation, this piece possesses a beauty that evokes particular romanticism within the collection.Smooth movements with double notes are required, and the difficulty is high. Instead of trying to play every note perfectly, it would be beneficial to consider how to distribute energy by effectively utilizing the relaxed weight of the arm.

No. 14: C minor / c-moll, 4/4 time, Moderato

An etude for arpeggios. Build the sound while feeling the intervals between the sustained notes and the moving notes. Play by feeling the weight in the thumb.

No. 15: B major / H-dur, 4/4 time, Allegro

An etude for double notes. While in No. 13 the melody appeared in the soprano, this piece is very difficult because the melody does not appear in either the upper or lower voice exclusively. Ingenious practice is required to clearly distinguish between the melodic and accompanying parts by ear.