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
Compositions
0
Op. 50 No. 1, Mazurka in G major
The 
mark in b. 53 and the 
mark in b. 57 most probably come from [A2]. There is no doubt that they specify the notation; however, they also raise certain questions:
- did Chopin add them to mark the dynamics, which he imagined like that while already writing A1, or is it a new concept?
- what is the character of the mark in b. 57 – is it merely the ending of the diminuendo in b. 55-56 (not marked in GE), after which returns immediately, which is the natural dynamics of this theme, or should one stay in for some time – 2, 4 or maybe 8 bars?
category imprint: Differences between sources; Corrections & alterations
notation: Verbal indications
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