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
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Op. 21, Concerto in F minor, Mvt III
Sources
- Semi-autograph
- Autograph of the piano part
- Manuscript of the orchestra part
- German edition
- First German edition
- Retouched impression of GE1
- Second German edition
- French edition
- First French edition
- Corrected impression of FE1
- Dubois copy
- Jędrzejewicz copy
- Stirling copy
- English edition
- First English edition
- Revised impression of EE1
- Corrected impression of EE2
EE3 - Corrected impression of EE2
Publisher: | Ashdown & Parry |
Date: | ca 1870 |
Plate number: | (W & Co. No. 1642) |
Title: | Second Concerto |
Dedication: | Madame Anderson, de Londres |
Corrected version of EE2, developed by Wessel's successors, the Ashdown & Perry company. In the entire Concerto, the changes encompass mainly several additions of accidentals, both necessary and cautionary. In this movement, the most important additions are a raising a
to a in bar 329, a c1 crotchet in the L.H. in bar 337 and a
lowering d3 to d
3 in bar 414. Other mistakes of EE2 were also corrected, e.g. the octave sign in bars 102-103 and 337-340 was removed and the authentic version of the 3rd crotchet in the L.H. in bar 366 and 368 was restored. In addition, certain arbitrary revisions were introduced, e.g. staccato dots over the first two quavers in bar 6 were added. A tie to f1 in bars 329-330 or arpeggios in the L.H. added in bar 428 and analog. prove that analogous places were harmonised.
Original in: | Royal Academy of Music, London |
Shelf-mark: | Reserve 51 Chopin |