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20 DEBUSSY_12 ÉTUDES • LE MARTYRE DE SAINT SÉBASTIEN The Études are dedicated to Chopin, whom Debussy venerated above all others. And, as in the case of the Polish composer, they take precise elements of piano technique – thirds, fourths, sixths and so on – as their pretext. What differences do you find between these two pianist- improvisers of genius in the way they approached the technique of their instrument? At a time when he was working on a new edition of Chopin’s music for Durand, Debussy’s imagination was undoubtedly stimulated by close contact with the works of someone for whom he had always felt such great veneration. But in my opinion, their approach to the étude is very different. For each of his études, Chopin chooses a precise formula (an interval, a particular type of arpeggio, or something more complex) and sticks to it in a fairly strict and uniform manner until he has completely exhausted its possibilities – and, sometimes, has also exhausted the pianist by the endurance he demands! In a few cases, a central section, a sort of trio, introduces a pause for breath in the uninterrupted flow.The highmusical value of Chopin’s Études never allows us to forget that they are a formidable pedagogical tool. Practising themenables pianists tomake progress, to overcome innumerable difficulties and to build up a rock-solid technique and fingers of steel that make it possible to tackle Chopin’s entire output.