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. 21, Concerto in F minor, Mvt II
In FES, Chopin sketchily marked changes in the pairs of chords forming cues of the orchestral part at the transition of bars 59-60 and 61-62. In the first pair, he changed the bottom note of the R.H. chord in bar 59 from d
2 to b1; necessity of omitting the octaves of the L.H. results directly from assigning to the left hand the harmonic triplet figuration. In bars 61-62 the marking is even less clear – only at the beginning of bar 62 a crotchet stem is added, indicating the addition of the note d2 to the R.H. sixth f2-d3; analogous complement (note e2) to the R.H. crotchet should undoubtedly also be applied to the previous chord in bar 61. As in the previous pair, the lower notes of both chords (a1 and d1) should also be omitted.
Compare the passage in the sources »
category imprint: Differences between sources; Corrections & alterations; Source & stylistic information
issues: Annotations in teaching copies, Annotations in FES
notation: Pitch