Moscheles' large-scale etude collections include two sets: Op. 70 (1827, 28) and the present work. Both aim to achieve advanced performance techniques, but the latter, in particular, places equal emphasis on familiarizing oneself with various compositional styles and expressing the inherent characteristics of each piece. Indeed, the French edition's title includes the description "for the development of style and bravura." Here, "style" refers to the method of expressing musical ideas, that is, performing with an interpretation "appropriate to the work," while "bravura" refers to the brilliant and virtuosic aspects of the work. In short, these etudes aim to improve both the technical dexterity of the hands and fingers, and expressive power. Although the first French edition was published without titles for each piece, contrary to Moscheles' wishes, the first German edition includes descriptive titles for all pieces. Each piece is written based on specific technical challenges such as chromatic scales (No. 1), thirds and sixths (No. 10), repeated chords (No. 2) and leaps (No. 6), arpeggios (No. 7), and polyphony (Nos. 9, 11). However, within the limited material, motifs are fully developed and meticulously calculated, such as being placed in various registers. Most pieces require a rapid tempo, but No. 7 is written in a sweet and leisurely vocal style, and Nos. 9 and 11 are works imbued with a contemplative and dreamlike atmosphere.

Material

When this collection of etudes was published without titles in France, Moscheles was displeased and wrote a letter to the publisher, Maurice Schlesinger. This letter was published on January 21, 1838, in the music magazine Revue et Gazette Musicale, published by Schlesinger in Paris. Here, one can see Moscheles' dissatisfaction with the publisher's deliberate omission of the titles, preface, and motto for each piece of the recently published Characteristic Etudes, Op. 95. Furthermore, his stance of advocating for the necessity of titles while still trying to distance himself from musical descriptiveness shares common ground with Chopin's aesthetic of composition.

To the Editor of the Gazette Musicale de Paris,

Sir,

The honor of every composer is involved in the strict and complete publication of his works, because he is responsible to criticism and public opinion. According to this principle, I believe it is necessary for the music-loving public to understand that my new Characteristic Etudes, published under my name by M. Schlesinger, have been published in an incomplete form for reasons I completely fail to comprehend. The published score lacks not only the explanatory preface and motto, but also the characteristic titles of each etude. These exist in the German and English editions, as well as in the autograph manuscript from which the French edition was supposed to be made. Therefore, I believe it is necessary to inform you that M. Schlesinger has promised to soon produce the only complete and authorized new edition.

I would be grateful if you would publish the following brief text in the next issue of your Gazette Musicale.

Yours respectfully,

Preface

The author of these etudes did not compose them as a continuation of the two previously published works, but he wishes to dedicate them to those who are already familiar with those collections. If, through the previously published etudes, preliminary practice has been completed and sufficient proficiency acquired, the pianist will approach the higher artistic goals that the author has set for himself.

As the author assumes the hands of pianists trained to overcome great technical difficulties, he has deemed it necessary to remove all instructions regarding the performance of each etude, which were present in the previous collections. There are almost no fingerings. What the performer must strive to express above all are the impressions of the heart and overflowing passion. The characteristic titles attached to each etude, as well as the technical terms indicating various nuances, express only a very small part of the composer's intention. To be more descriptive than this, it seemed to the author, would exceed the limits of the art [of music]. The author merely wished to stimulate the imagination of pianists and to produce impressions similar to those he held while composing this work.

Motto

No musician will be able to move his listeners unless he himself is moved. Therefore, he must immerse himself in every emotion he wishes to reproduce. Only by striving to make his feelings understood can he make his listeners share them.

C. P. E. Bach, Essay on the True Art of Playing Keyboard Instruments (1762)

Translated by Yasushi Ueda

Titles of the Etudes

• No. 1 (Anger) Allegro non troppo A minor
• No. 2 (Reconciliation) Andante placid F major
• No. 3 (Contradiction) Vivace
• No. 4 (Juno¹) Allegro maestoso A major
• No. 5 (Fairy Tale) Allegretto grazioso E-flat major
• No. 6 (Bacchanal) Allegro con spirito A minor
• No. 7 (Tenderness) Andante molto espressivo G major
• No. 8 (Carnival Scene) Presto E minor
• No. 9 (Moonlight on the Seashore) Andante placid A-flat major
• No. 10 (Terpsichore²) Allegro giocoso B minor
• No. 11 (Dream) Andantino grazioso
• No. 12 (Anxiety) Presto agitato A major

1 In Roman mythology, the wife of Jupiter, the chief god. The supreme goddess who presides over marriage.

2One of the nine Muses in Greek mythology who preside over the arts and sciences, considered the patron goddess of dance.