No. 1 Prelude

The piercingly bright and rhythmic music is one of Kapustin's great charms. The dizzying sixteenth notes played by both hands create a percussive effect. For the listener, it creates the illusion that a jazz combo is performing with just one piano. The music is permeated by cheerful Latin rhythms, and a constant, unwavering eight-beat throughout generates a sense of dynamism. The main theme, which appears after the introduction, is varied with the character of a jazz improvisation when it appears for the second time.

No. 2 Reverie

The piece is in ternary form, with the outer sections resembling an etude of double-note tremolos in the right hand. The musical sound is arguably the most classical-music-like among all eight pieces. The piece begins in 12/8 time, which is a relaxed rock rhythm in a slow four-beat with accents on the off-beats. A fast-tempo jazz waltz is inserted in the middle of the piece. Here, a catchy melody that will be sung as the secondary theme of No. 8 is anticipated. This theme, played with an expanded rhythm in triple meter, is repeated twice before returning to the recapitulation.

No. 3 Toccatina

Similar to No. 1, it is in a jazz-rock style. True to its title, it consists of two main themes that include repeated-note techniques. Because of the characteristic repeated notes, the rhythm has a clear eight-beat, creating an effect as if percussion instruments are playing along. The first theme is a melody based on the blues scale, with frequent repeated notes in the right hand. The other theme is more lyrical, and here, repeated notes appear somewhat in the left hand. The passionate melody of this second theme makes the piece captivating.

No. 4 Remembrance

Originally written in 7/4 time, it was ultimately rewritten to alternate between 3/4 and 4/4 time. It consists of three sections; in the outer sections, the left hand primarily plays harmonies, while the right hand plays ornamental and improvisatory passages. In the middle section, the roles of both hands are largely reversed, but the music flows seamlessly. The flowing passages that permeate the entire piece are both meditative, and also romantic and passionate. According to the composer, he prefers the English title “Reminiscence” over “Remembrance.”

No. 5 Raillery

“Raillery” means “good-natured teasing.” It is written in a boogie-woogie style. A piece characterized by humorous and bold expression. The left-hand figuration plays an important role, and the characteristic bounce rhythm of boogie-woogie also appears. After a short introduction, a theme with a 12-bar blues structure begins. This develops and is varied, continuing for a total of eight times until the end. In the seventh variation, the theme reappears in a form close to its original. Throughout the piece, a wide range of the piano's register is utilized, making it a highly effective work for performance.

No. 6 Pastorale

Although it has a seemingly modest title, sandwiched between the flashy No. 5 and No. 7, its technical difficulty is as high as the other pieces. The main theme is a cheerful melody characterized by syncopation, instructed to be played non-legato. Another secondary theme is also fundamentally derived from the same rhythm but forms a good contrast with a somewhat melancholic melody, different in atmosphere from the main theme. For listeners going through all eight pieces, this piece offers a pleasant musical idea that serves as a respite.

No. 7 Intermezzo

This piece emulates the stride jazz style. First, the swinging, attractive theme in the right hand takes center stage. The tempo is not particularly fast for this type of piece, but in the middle of the piece, the right hand begins to play sixteenth notes over the left hand's stride rhythm. From this point, the piece begins to take on the character of an “Etude in Thirds.” The right hand plays continuous double-note passages, while interestingly, the left hand's four-beat pulse remains constant throughout. However, eventually, the left-hand stride also changes from quarter notes to eighth notes, doubling its speed, and the piece concludes filled with bright vitality.

No. 8 Finale

A finale truly befitting the end of the collection, rushing through at a relentlessly fast tempo. This No. 8 was the catalyst for the creation of this set of etudes. The first theme is supported by a percussive rhythm played with an exquisite intertwining of fast eighth notes in both hands. The second theme of this piece was borrowed for the middle section of No. 2, “Reverie.” Listening to this etude collection in order from the beginning creates the illusion of hearing the original form of this melody for the first time here, producing a nostalgic effect. The piece is in a small sonata form, but towards the recapitulation and coda, both the volume and range expand, concluding with a powerful impression.