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. 64 No 3, Waltz in A♭ major
Sources
- Autograph sketch
- Autograph
- French edition
- First French edition
- Dubois copy
- Stirling copy
- German edition
- First German edtion of Op. 64
- First German edtion of Waltz in A♭ major
- Second German edition of Op. 64
- Second German edition of Waltz in A♭ major
- Corrected impression of GE2op
- English edition
- Earliest English edition
- First English edition
- Revised impression of EEW1
As - Autograph sketch
| Date: | [ca 1846-1847] |
| Title: | Brak |
On a double chart the Waltz is written on the pages 1 and 4. On the page 2 one can see – "upside down" with respect to the Waltz – attempts of notation of the Scherzo from the Sonata in G minor, Op. 65. In mUltimate Chopin, wanting to preserve the factual layout of the pages of the double chart, and at the same time to present the pages with the Waltz in the correct order and next to each other, we adopted the 2-1-4-3 layout of the pages, which corresponds to viewing the manuscript folded in such a way that the Waltz is in the middle of the chart.
As was first written with a quill (in ink) and then it was completed and corrected in pencil. Bars 133-140 are written in two versions, out of which the later became the final one. The accompaniment is generally written in pencil, in particular the chords in the L.H., but also a number of corrections in the melody and the final version of bars 147-148, which originally occupied one bar, are written in pencil.
While writing A, Chopin certainly used As, which did not keep him away from a few mistakes.
| Original in: | Bibliothèque de l'Opéra, Paris |
| Shelf-mark: | Rés 50 (1) |