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. 24 No. 4, Mazurka in B♭ minor
Some bass notes in the first five bars of the theme (bars 13-17, 37-41, 45-49, 99-103 and 107-11) have staccato dots in the sources. Such dots occur in bars 13-15, 17, 37-39, 45-46, 48, 99, 101 and 108-111. The combined analysis of all those places allows one to make the following observations:
- in each of the five listed fragments dots appear for at least two notes (most often for three or four notes);
- particular bars in each of the fragments have dots at least in two out of the five places (most often in four);
- the arrangement of notes with dots is different in each fragment.
In the editors' opinion, this means that Chopin planned the staccato articulation for all the bass notes, but failed to mark it accurately.
category imprint: Editorial revisions
notation: Articulation, Accents, Hairpins
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