Op 10, No. 1
First, gotta say my cliche, I don't care if he had a toothache when he wrote it.
That means, when a piece is titled "Etude and nothing but Etude," we can never guess -- near any surety, at what the composer was feeling or what the composer may have wanted the listener to feel.
I do hear this brilliance, a bloom of arpeggios, the slightest yet good line in the bass, and Chopin's startling yet often "Beautiful" harmonic display. It is spacious sounding, forte amplitude for the most part. "Exciting."
I can not think of one literally specific sentiment or specific emotion that would evoke, let alone in another listener.
Maybe of interest... Chopin, using this same configuration, and very much the same sort of manner used to make one kind of piano piece, symmetrically placed three other arpeggio etudes in this sequence of the 24 etudes:
Op. 10:
No. 1 treble right-hand arpeggios.
No 12 bass left hand arpeggios.
Op. 25:
No. 1 treble and bass left and right hand opposed arpeggios
No. 12 treble and bass left and right hand parallel arpeggios
Very neatly symmetrical, both use of arpeggios and placement of the pieces within the running order of Op 10, and Op. 25
I cannot hear Op 10, No. 2
as other than an Etude, knowing what the specific exercise is: there is to me some light Mendelssohnian scherzo generic late romantic
evoke fairyland or something elusive, fey, about it.
Pleasant and light-sounding finger exercise -- some light, some shadow -- will never evoke much more for me, but a pleasant light piece which requires a hell of a lot to play it offhandedly as a pleasant and light piece