No. 12 ends the set in overwhelming fashion. Its arpeggios in both hands, and the accented low-register melody evoke a picture of gigantic ocean waves. Some say its an echo from Opus 10 No.1 A work of great majesty and starkness.

It bears a resemblance to the prelude of J.S. Bach in the same key from Das Wohltemperirte Clavier (Book 1).

Essentially it is a study in pianistic resonance, the music is at base a chorale which Chopin has expanded into what Schmitz reckoned as "a gigantic play of chimes."

Von Bulow learns us: " The requisite strength for this grandiose bravura study can only be attained by the utmost clearness, and thus only by a gradually increasing speed. It is therefore most desirable to practise it piano also by way of variety, for otherwise the strength of tone might easily degenerate into hardness, and in the poetic striving after a realistic portrayal of a storm on the piano the instrument, as well as the piece, would come to grief. The pedal is needful to give the requisite effect, and must change with every new harmony; but it should only be used in the latter stages of study, when the difficulties are nearly mastered. "

Huneker felt in it "the thunder and spray of the sea when it tumbles and roars on some sullen and savage shore."