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. 25 No 2, Etude in F minor
Sources
- Autograph of a fragment
- Presentation Autograph
- Copy for Delfina Potocka
- Gutmann's Copy
- French edition
- First French edition
- Corrected reprint of FE1
- Dubois copy
- Jędrzejewicz copy
- Stirling copy
- German edition
- First German edition
- Corrected reprint of GE1
- Flawed impression of GE1
- Second German edition
- Revised impression of GE2
- English edition
- First English edition
- Corrected reprint of EE1
- Revised impression of EE2
CDP - Copy for Delfina Potocka
| Date: | (X 1836 – VI 1837) |
| Title: | Etude |
| Dedication: | None |
Copy from an album belonging to Delfina Potocka, made by an unknown copyist (the National Museum, Kraków), performed on the basis of a lost autograph, most probably [A].
The date follows from the lesser extent of compatibility of the text of CDP with AW than with [A], reconstructed to a large extent on the basis of comparison of the notation of GC with FE and EE. Such a compatibility appears in the case of performance indications at the beginning of the Etude, in bars 36-40 and 47-50, as well as 68, the slur in bar 7 or pedalling in bars 66 and 68. It means that CDP was performed on the basis of [A] and still before handing it to the editor, most probably in July 1837.
The above findings, as well as instances of CDP showing versions written with Gutmann's hand in GC, then changed by Chopin, e.g., placement of 
in bar 19, make this copy a significant element in the reconstruction of the original state of [A].
The attention is drawn by the presence of a few accidentals overlooked in other sources, e.g., the 
returning b
2(1) in bars 4, 25. It suggests that the person who was performing the copy had a good ear; it cannot be excluded that he or she had already heard the copied piece.
| Original in: | Muzeum Narodowe, Cracow |
| Shelf-mark: | M.N. 73152 |