Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 26 No 1, Polonaise in C♯ minor
At the beginning of the bar, one can see numerous deletions in A:
- slashed dashes over and under the double-sided repetition sign, suggesting that initially it was supposed to be directed only to the left, for bars 13-37. A later addition of dots indicating repetition for bars 38-53 is also emphasised by the graphical cluster of these dots with the key signature, particularly in the R.H. – see below;
-
the f2 minim between the key signature on the top stave. Chopin probably started writing the D
major section without having marked the change of key. Only after having written the 1st note, he noticed his mistake, deleted the note and added flats. If the repetition sign had already been written entirely, there would have been no reason to cram the flats so close to it, hence most probably the second part of the repetition sign was added still later, most probably after having written the entire repeated section (bars 38-53; - unrecognised by the editors sign between the key flats and the f2 minim;
- indication of tempo-character;
- the f2 quaver at the beginning of the bottom voice of the R.H.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Authentic corrections of FE
notation: Shorthand & other
