Chopin - Etude Op. 10 No. 12 "Revolutionary" by Sarah Kang

Sarah Kang plays "Revolutionary" by Chopin. A.K.A. Chopin Etude Op. 10 No. 12.
It was performed at MacPhail Center for Music.
Background:
Sarah received degrees in piano performance from the University of Minnesota (B Mus.), Indiana University (M.Mus) and is in the DMA program at the U of MN in Piano Performance (deferred). Sarah has extensive experience teaching piano students of all ages in both Chicago and the Twin Cities, and she currently maintains a home studio and teaches at St. Joseph’s School of Music. Recently completing all levels of Suzuki piano teacher training, Sarah will teach Suzuki individual and group lessons in Minneapolis beginning in September, 2014. Sarah is also a frequent performer in the Twin Cities area.
More about the music by Wikipedia...
History
The "Revolutionary Étude" was inspired by 1831 Russian attack on Warsaw, during the November 1830-31 Uprising
The 12th Étude appeared around the same time as the November Uprising in 1831. Chopin poured his emotions on the matter into many pieces that he composed at that time, the "Revolutionary Étude" standing out as the most notable example. Upon conclusion of Poland's failed revolution against Russia, he cried "All this has caused me much pain. Who could have foreseen it?"[2]
Unlike études of prior periods (works designed to emphasize and develop particular aspects of musical technique), the romantic études of composers such as Chopin and Liszt are fully developed musical concert pieces, but still continue to represent a goal of developing stronger technique.
In the case of Op. 10, No. 12, the technique required in the opening bars is playing long, loud descending runs, which forms a dominant seventh chord introductory build-up to the main theme. The length and the repetition of these rapid passages distinguishes the "Revolutionary" from other études. The rest of the passage focuses on the left hand fingering scales and arpeggios.
Although the greatest challenge lies with the relentless left hand semiquavers, the right hand is also challenged by the cross-rhythms which are used with increasing sophistication to handle the same theme in various successive parallel passages.
The left hand technique in this piece involves evenly played semiquavers throughout. The structure is of the strophic form (A-A′-coda)[example needed]. Some may also argue that it is of the ternary form (A-B-A-coda). The opening broken chords (diminished chord with an added passing note) and downward passages transition into the main appassionato melody. The octave melody's dotted rhythms and the continuous accompaniment give an impression of tension.[3] The piece ends by recalling the opening in a final descending sweep (with both hands) descending to a C major chord, although within a context that draws its expected function as a resolution into question.
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