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. 28 No. 6, Prelude in B minor
Sources
- Autograph
- Fontana's copy
- Copy by George Sand
- French edition
- First French edition
- Corrected impression of FE1
- Dubois copy
- Jędrzejewicz Copy
- Stirling copy
- Scherbatoff copy
- German edition
- First German edition
- Revised impression of GE1
- Corrected impression of GE2
- English edition
- First English edition
- Corrected impression of EE1
- Revised impression of EE1a
FES - Stirling copy
| Publisher: | Adolphe Catelin et Cie |
| Date: | 1844-1849 |
| Plate number: | Ad. C. (560) et Cie |
| Title: | 24 Préludes |
| Dedication: | Son ami Camille Pleyel |
Copy of FE2 from the collection of Chopin pieces belonging to his pupil Jane Stirling. Above all, FES contains numerous fingerings, mainly in the L.H. part, written both in Chopin's and Miss Stirling's hand. The change of fingers after hitting a key (b. 1, 10, 15, 19 and 23-24), used on a number of occasions, and the traces of changes of fingering, which probably prove that Chopin changed the fingering suggested by the pupil (b. 6 and 23), are particularly noteworthy. In addition, Chopin added a few dynamic indications in FES – 
and 
in b. 13, cresc. and in b. 15-16 and 
in b. 20-21 (twice). All were entered in a manner that suggests that they were being written while the pupil was playing, in the score on the music desk.
| Original in: | Bibliothèque Nationale de France, Paris |
| Shelf-mark: | Rés. Vma 241 (IV,28 I) |