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 4, Etude in A minor
Sources
- Autograph
- Fontana'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. 16 |
| Dedication: | Made. la Comtesse d'Agoult |
EE1 is based on a lost copy of A, reviewed and corrected by Chopin, so even the versions differing EE1 from the remaining manuscripts may be authentic (e.g., pedal in bar 8, value of crotchet in bar 27, dynamic indications in bar 31 and 54). In turn, nothing indicates a possibility of Chopin proofreading of EE1.
As far as the number of performance indications is concerned, the manuscript, serving EE1 as basis, can be situated between A and FC:
- articulation and dynamic indications are compatible in EE1 with FC in bars 2-12 or 41-42, similarly pedalling in bars 25-26 and 46;
- in bars 47-48, 50-53 and 55 no dynamic differences combines EE1 with A.
EE1 includes a number of inaccuracies in the notation of accidentals, generally obvious and partly probably adopted from the basis, e.g., in bar 8, 17, 21-26. Comparison of A with FC indicates that in spite of deficiencies, the edition probably underwent a rough revision in this regard (e.g., in bars 23-26, 31 czy 33).
| Original in: | National Library of Scotland, Edinburgh |
| Shelf-mark: | Mus. Vol. 268 (1) |