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
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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
EE1 - First English edition
Publisher: | Wessel & Co. |
Date: | X 1837 |
Title: | Douze Etudes || No. 14 |
Dedication: | Made. la Comtesse d'Agoult |
EE1 is based on a lost manuscript, probably [A] or – which is more likely – its copy. The manuscript, already after having been written, was entirely reviewed and corrected by Chopin, so that even the versions that differ EE1 from the remaining editions can be authentic (e.g. in bar 33). In turn, nothing indicates a possibility of Chopin proofreading of EE1.
On the other hand, EE1 overlooked a few changes and additions introduced by Chopin into FE and GC (→GE):
- slurring in bar 57;
- pedalling in bar 67.
Lack of a few other indications points to the oversights of the copyist preparing the base text (which would at the same time indicate the copy to be base text for EE1) or of the engraver:
- pair of dynamic hairpins in bars 37-38;
- sempre piano in bar 51.
EE1 includes a clear mistake in bar 8: b2 instead of a
2. Same as in some of the other sources, some of the necessary accidentals are missing, as for example in bar 25 and 56.
Original in: | National Library of Scotland, Edinburgh |
Shelf-mark: | Mus. Vol. 268 (1) |