ngest and,
in every respect, the grandest of Chopin's studies, that, while
producing the greatest fulness of sound imaginable, it keeps itself so
entirely and utterly unorchestral, and represents piano music in the
most accurate sense of the word. To Chopin is due the honor and credit
of having set fast the boundary between piano and orchestral music,
which through other composers of the romantic school, especially Robert
Schumann, has been defaced and blotted out, to the prejudice and damage
of both species."

Kullak is equally as warm in his praise of it:

One of the grandest and most ingenious of Chopin's etudes, and
a companion piece to op. 10, No. 12, which perhaps it even
surpasses. It is a bravura study of the highest order; and is
captivating through the boldness and originality of its
passages, whose rising and falling waves, full of agitation,
overflow the entire keyboard; captivating through its harmonic
and modulatory shadings; and captivating, finally, through a
wonderfully invented little theme which is drawn like a "red
thread" through all the flashing and glittering waves of tone,
and which, as it were, prevents them from scattering to all
quarters of the heavens. This little theme, strictly speaking
only a phrase of two measures, is, in a certain sense, the
motto which serves as a superscription for the etude,
appearing first one voiced, and immediately afterward four
voiced. The slow time (Lento) shows the great importance which
is to be attached to it. They who have followed thus far and
agree with what has been said cannot be in doubt concerning
the proper artistic delivery. To execute the passages quite in
the rapid time prescribed one must possess a finished
technique. Great facility, lightness of touch, equality,
strength and endurance in the forte passages, together with
the clearest distinctness in the piano and pianissimo--all of
this must have been already achieved, for the interpreter must
devote his whole attention to the poetic contents of the
composition, especially to the delivery of the march-like
rhythms, which possess a life of their own, appearing now calm
and circumspect, and anon bold and challenging. The march-like
element naturally requires strict playing in time.

This study is magnificent, and moreover it is music.

In bar fifteen Von Bulow makes B natural the second note of the last
group, although all other edition