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 9, Etude in G♭ major
Sources
- Gutmann's Copy
- French edition
- First French edition
- Corrected reprint of FE1
- Dubois copy
- Jędrzejewicz copy
- Stirling copy
- German edition
- First German edition
- Another copy of #GE1
- Second German edition
- Revised impression of GE2
- English edition
- First English edition
- Corrected reprint of EE1
- Revised impression of EE2
FE1 - First French edition
| Publisher: | Maurice Schlesinger |
| Date: | X 1837 |
| Title: | Etudes || 9me Étude |
It was a manuscript (lost), very close to the version of GC from before Chopin corrections (see the characteristics of GC), that was the base text for FE1. In spite of not including the significant additions and corrections, the basis for FE1 was probably not entirely excluded in the phase of refining the Stichvorlage manuscripts, which is indicated by, e.g., the marcato indications in bars 25 and 
in bar 50.
FE1 was most probably corrected by Chopin same as the other Etudes, although in this Etude there are no clear traces of such corrections. However, Chopin's intervention can be assumed, e.g., in the case of the arpeggio of the 2nd chord in the L.H. in bar 8.
FE1 lacks numerous necessary accidentals, which almost certainly corresponds to the notation of the base text. For example, in bar 24 there is no 
before g
and 
before a
, whereas in bar 39 there are no naturals lowering c(1) to c(1). Some of the deficiencies seem to, however, be the fault of the engraver, e.g., lack of the 
lowering g2 to g2 at the beginning of bar 27.
| Original in: | Bibliothèque Nationale de France, Paris |
| Shelf-mark: | Rés. F. 1580 |