Étude

Of the vast number of études from that era some are still used as teaching material (particularly pieces by Carl Czerny and Muzio Clementi), and a few, by major composers such as Frédéric Chopin, Franz Liszt and Claude Debussy, achieved a place in today's concert repertory.

Études written in the 20th century include those related to traditional ones (György Ligeti) and those that require wholly unorthodox technique (John Cage).

Of particular importance were collections of "studies" by Johann Baptist Cramer (published between 1804 and 1810), early parts of Muzio Clementi's Gradus ad Parnassum (1817–26), numerous works by Carl Czerny, Maria Szymanowska's Vingt exercises et préludes (c. 1820), and Ignaz Moscheles' Studien Op.

95 (1836–37) the situation began to change, with both composers striving to create music that would both please the audiences in concert and serve as a good teaching tool.

25 (1837) was extremely novel at the time of their publication; the first performer who succeeded at mastering the pieces was the renowned virtuoso composer Franz Liszt (to whom Chopin dedicated the Op.

Each of the études has a different character, designated by its name: Preludio; Molto Vivace; Paysage [Landscape]; Mazeppa; Feux Follets [Irrlichter/ Will-o'-the-wisp]; Vision; Eroica; Wilde Jagd [Wild Hunt]; Ricordanza; Allegro Molto Agitato; Harmonies du Soir [Evening Harmonies]; and Chasse-neige [Snow-whirls].

Olivier Messiaen's Quatre études de rythme ("Four studies in rhythm", 1949–50) were not didactic compositions, but experiments with scales of durations, as well as with dynamics, figurations, coloration, and pitches.

Kaikhosru Shapurji Sorabji's 100 Transcendental Studies (1940–44), which take Godowsky and Liszt as their starting point, frequently focus on particular technical elements, as well as various rhythmical difficulties.

[9] Following the creation of his High School of Cello Playing book, Popper created two more sets of études directed at more novice and intermediate audiences.

The first, Zehn mittelschwere grosse Etüden; Als Vorstudien zur "Hohen Schule des Violoncellspieles" (10 Studies Preparatory to the "High School of Cello Playing"), was published a year later.

This set of 10 études was aimed at intermediate players to study before working on the more advanced High School of Cello Playing book.

[10] Approximately five years later, Popper published his final set of études, 15 Leichte Etüden in der ersten Lage (15 Easy Etudes in the First Position).