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. 28 No. 17, Prelude in A♭ major
In the manuscripts and in GE, repeating elements – chords, groups of quavers, bars – are written down with the use of various abbreviations.
In FCI b. 60-61 are marked with letters a, b as a repetition of b. 58-59; the groups of quavers in the 2nd half of b. 62 are marked with / signs, while b. 63-64 with •/• as a repetition of b. 62.
In A (→FC) the groups of repeated quavers are written down as dotted crotchets or minims with quaver tremolos; in turn, to mark b. 64 •/• signs were used. Tremolos are to be found in the 2nd halves of b. 43, 47, 57 and 59-61 and in b. 62-63. In FC a tremolo is also in the 2nd half of b. 58.
In GE the •/• signs and some tremolos were expanded. Abridged notation (tremolos) was kept in b. 43, 47 and 62-64.
Compare the passage in the sources »
category imprint: Differences between sources; Source & stylistic information
issues: Abbreviated notation of A, Fontana's revisions
notation: Shorthand & other