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. 4), Sonata in C minor
(Op. 4), Sonata in C minor, Mvt IV
It is unclear how to understand the combination of the ties between the d1 notes in bars 4-5 and the c1 notes in bars 5-6 and the arpeggio marks preceding the chords at the beginning of bar 5 and 6, since the markings seem contradictory. There are two possibilities:
- one can consider the ties to be slurs and play the entire chords as arpeggios, repeating the aforementioned notes;
- one can reduce the range of the arpeggios to the two bottom notes of the discussed chords, holding the topmost note.
Compare the passage in the sources »
category imprint: Source & stylistic information
issues: Tie or slur
