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 12, Etude in C minor
Sources
- Fontana'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
EE1 - First English edition
| Publisher: | Wessel & Co. |
| Date: | X 1837 |
| Title: | Douze Etudes || No. 24 |
| Dedication: | Made. la Comtesse d'Agoult |
EE1 is based on a lost manuscript – probably an autograph or its copy – which, already after having been written, was entirely reviewed and corrected by Chopin. Therefore, even the versions differing EE1 from the remaining sources can be authentic (e.g., dynamic hairpins in bars 46 and 53-54, cresc. - - in bars 57-64 or the pedalling in bars 81-83). In turn, nothing indicates a possibility of Chopin proofreading of EE1.
EE1 includes a few possible errors or inaccuracies, e.g., f instead of d in bar 14, no accents in bars 69-70 or absence of the bottom C1 at the beginning of bar 83. The a
note (instead of a) on the 3rd beat of bar 8 can be a mistake too.
A few additions of accidentals were most probably performed by the reviser, e.g., a cautionary 
before d in bar 14. Another possible revision is the 
sign at the end of the Etude.
| Original in: | National Library of Scotland, Edinburgh |
| Shelf-mark: | Mus. Vol. 268 (2) |