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 1, Waltz in D♭ major
Sources
- Autograph sketch
- Autograph I
- Autograph Caraman
- Autograph Rothschild
- Autograph
- French edition
- First French edition
- Second French Edition
- Dubois copy
- Stirling copy
- German edition
- First German edition of Op. 64
- First German edition of Waltz No 1
- Second German edition of Op. 64
- Second German edition of Waltz No 1
- Corrected impression of GE2op
- Third German edition of Waltz No 1
- Revised impression of GE3Db
- English edition
- Earliest English edition
- First English edition
- Revised impression of WaW1
A - Autograph
| Date: | VIII-IX 1847 |
| Title: | [Valse] || Nro 1 |
A Stichvorlage autograph, with clear signs, probably written in pencil, with which the engraver of FE marked the planned layout of the text into great staves and pages. A is quite densly written, with visible corrections in the form of deletions (ca. 20). Among the ones that are legible on the available photocopies, the most important include:
- corrections of the 2nd and 3rd crotchet in bars 11-12 and the bass note in bar 12 – perhaps a replacement of a version as the one in bars 9-10;
- deletion of an indication (agogic?) over bar 37; probably replacing it with sostenuto, written below;
- change of the melody's rhythm in bars 43-44;
- corrections of accompaniment in bars 62-66.
Chopin introduced further minor improvements, while proofreading FE.
A is not free from mistakes, mainly imprecision in the notation of accidentals, as, e.g., no naturals raising g
1 to g1 in bars 73-79.
In the notation of the Waltz Chopin uses an abbreviated notation in which the repeating fragments are written as numerated or provided with letters empty bars. This is how bars 85-92, 97-107 and 113-119 are written.
In mUltimate Chopin we display digitalised, black-and-white photographs of A from Prof. Jan Ekier's legacy.
| Original in: | Private collection, Basel |
