composed a study in my own
manner;" and November 14, the same year: "I have written some studies;
in your presence I would play them well."

Thus, quite simply and without booming of cannon or brazen proclamation
by bell, did the great Polish composer announce an event of supreme
interest and importance to the piano-playing world. Niecks thinks these
studies were published in the summer of 1833, July or August, and were
numbered op. 10. Another set of studies, op. 25, did not find a
publisher until 1837, although some of them were composed at the same
time as the previous work; a Polish musician who visited the French
capital in 1834 heard Chopin play the studies contained in op. 25. The
C minor study, op. 10, No. 12, commonly known as the Revolutionary, was
born at Stuttgart, September, 1831, "while under the excitement caused
by the news of the taking of Warsaw by the Russians, on September 8,
1831." These dates are given so as to rout effectually any dilatory
suspicion that Liszt influenced Chopin in the production of his
masterpieces. Lina Ramann, in her exhaustive biography of Franz Liszt,
openly declares that Nos. 9 and 12 of op. 10 and Nos. 11 and 12 of op.
25 reveal the influence of the Hungarian virtuoso. Figures prove the
fallacy of her assertion. The influence was the other way, as Liszt's
three concert studies show--not to mention other compositions. When
Chopin arrived in Paris his style had been formed, he was the creator
of a new piano technique.

The three studies known as Trois Nouvelles Etudes, which appeared in
1840 in Moscheles and Fetis Method of Methods were published separately
afterward. Their date of composition we do not know.

Many are the editions of Chopin's studies, but after going over the
ground, one finds only about a dozen worthy of study and consultation.
Karasowski gives the date of the first complete edition of the Chopin
works as 1846, with Gebethner & Wolff, Warsaw, as publishers. Then,
according to Niecks, followed Tellefsen, Klindworth--Bote &
Bock--Scholtz--Peters--Breitkopf & Hartel, Mikuli, Schuberth, Kahnt,
Steingraber--better known as Mertke's--and Schlesinger, edited by the
great pedagogue Theodor Kullak. Xaver Scharwenka has edited Klindworth
for the London edition of Augener & Co. Mikuli criticised the Tellefsen
edition, yet both men had been Chopin pupils. This is a significant
fact and shows that little reliance can be placed on the brave talk
about tradition. Yet M