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 3, Etude in E major
Sources
- Working autograph
- Autograph
- French edition
- First French edition
- Corrected impression of FE1
- Dubois copy
- Jędrzejewicz copy
- Stirling copy
- German edition
- First German edition
- Corrected impression of GE1
- Second German edition
- Third German edition
- Fourth German edition
- Fifth German edition
- English edition
- First English edition
- Corrected impression of EE2
- Revised impression of EE3
AI - Working autograph
| Date: | 25 VIII 1832 |
| Title: | Etude |
| Dedication: | None |
The date – Paris, 25 August [18]32 – is written by Chopin's hand at the top of the first page with the note text. AI has a nature of a complete and accurate draft, it differs from the later version of A with a number of details, even if one does not take into account performance indications, written rarely and inaccurately. One can mention here semiquaver melodic turns in the 2nd half of bar 8, lack of division between hands of dyads in bars 42-43 and 44-45, lack of e1 in the 2nd half of bar 59, bottom voice of the R.H. in bar 61.
The draft nature of the source is proved by copious deletions and corrections, briefly written or only marked fragments, as well as impatience and carelessness visible in the manner of writing. Erroneous notes are much more frequent than in fair scores, written at a wrong pitch due to carelessness (e.g. in bars 8 and 13, 44). There is no doubt that the manuscript was not meant to transfer the text of the piece to someone else; it was only the first attempt of a complete notation of a recently shaped vision of a new piece.
