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
Compositions
0
Op. 21, Concerto in F minor, Mvt I
Page:
Source:
p. 3, b. 7-13
p. 1
p. 2, b. 1-6
p. 3, b. 7-13
p. 4, b. 14-19
p. 5, b. 20-26
p. 6, b. 27-32
p. 7, b. 33-39
p. 8, b. 40-45
p. 9, b. 46-51
p. 10, b. 52-57
p. 11, b. 58-63
p. 12, b. 64-70
p. 13, b. 71-77
p. 14, b. 78-81
p. 15, b. 82-86
p. 16, b. 87-91
p. 17, b. 92-96
p. 18, b. 97-100
p. 19, b. 101-105
p. 20, b. 106-110
p. 21, b. 111-115
p. 22, b. 116-120
p. 23, b. 121-125
p. 24, b. 126-131
p. 25, b. 132-137
p. 26, b. 138-141
p. 27, b. 142-145
p. 28, b. 146-149
p. 29, b. 150-154
p. 30, b. 155-159
p. 31, b. 160-164
p. 32, b. 165-168
p. 33, b. 169-172
p. 34, b. 173-176
p. 35, b. 177-180
p. 36, b. 181-185
p. 37, b. 186-191
p. 38, b. 192-196
p. 39, b. 197-201
p. 40, b. 202-206
p. 41, b. 207-212
p. 42, b. 213-216
p. 43, b. 217-220
p. 44, b. 221-224
p. 45, b. 225-228
p. 46, b. 229-232
p. 47, b. 233-236
p. 48, b. 237-240
p. 49, b. 241-244
p. 50, b. 245-248
p. 51, b. 249-252
p. 52, b. 253-256
p. 53, b. 257-261
p. 54, b. 262-266
p. 55, b. 267-272
p. 56, b. 273-277
p. 57, b. 278-283
p. 58, b. 284-288
p. 59, b. 289-293
p. 60, b. 294-297
p. 61, b. 298-301
p. 62, b. 302-305
p. 63, b. 306-309
p. 64, b. 310-313
p. 65, b. 314-317
p. 66, b. 318-321
p. 67, b. 322-325
p. 68, b. 326-329
p. 69, b. 330-333
p. 70, b. 334-338
p. 71, b. 339-343
p. 72, b. 344-348
A - Autograph of the piano part
Main text
½A
- Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE
- German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE
- French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE
- English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
Select notes:
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Differences
No differences
½A
- Semi-autograph
A - Autograph of the piano part
Morch - Manuscript of the orchestra part
GE
- German edition
GE1 - First German edition
GE1a - Retouched impression of GE1
GE2 - Second German edition
FE
- French edition
FE1 - First French edition
FE2 - Corrected impression of FE1
FED - Dubois copy
FEJ - Jędrzejewicz copy
FES - Stirling copy
EE
- English edition
EE1 - First English edition
EE2 - Revised impression of EE1
EE3 - Corrected impression of EE2
Importance
All
Important
Main
While the slur of A ends in bar 9, it is not obvious whether it is actually supposed to reach the F quaver. Therefore, the interpretation of GE (→FE→EE) is equally justified.
Compare the passage in the sources»
category imprint: Graphic ambiguousness; Differences between sources
issues: Inaccurate slurs in A
notation: Slurs
Missing markers on sources:
GE1, GE1a, Morch, GE2, FE1, FE2, FES, FED, FEJ, EE1, EE2, EE3