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. 10 No 2, Etude in A minor
We give the time signature marking after CLI and Ap. Although FE (→GE,EE) has 
, it is hard to assume that the change in time signature was done on purpose, if in FE the 
marking was not used in the Etudes even once – contrary to the manuscripts – cf. Etudes in C
minor, No. 4, F major, No. 8 and C minor, No. 12. The phenomenon appears also in other pieces, even in totally clear situations, e.g., in Etudes in F minor, Op. 25 No. 2, D
major, Op. 25 No. 8 or F minor, Dbop. 36 No. 1.
Compare the passage in the sources »
category imprint: Differences between sources
issues: 4/4 or 2/2
notation: Rhythm
