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. 6, Prelude in B minor
Initially, Chopin marked the two-quaver motifs with an accent and a slur – as he did in b. 1 – also in b. 2-6, 11-16 and 18. All those markings were then crossed out – after the three accent/slur combinations in b. 1, Chopin left only one more at the end of b. 22, which, actually, gave it a special meaning.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Deletions in A
notation: Articulation, Accents, Hairpins
