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. 7, Prelude in A major
Sources
- Autograph
- Fontana's copy
- Copy of earlier version
- 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
CGS - Copy by George Sand
| Date: | (VIII 1839-1854) |
| Title: | [Prélude] |
| Dedication: | None |
Copy made by George Sand (photocopy in: Korespondencja Chopina z George Sand i jej dziećmi, ed. K. Kobylańska, Warsaw 1981), the third of six Preludes copied by the novelist in an extensive album containing pieces by various composers, written by different persons. CGS was most probably prepared on the basis of FE2, like the remaining Preludes from this album, although in this Prelude there are no visible differences significant enough to reject this assumption nor similarities that could confirm it:
- the differences can be easily explained by the copyist's inaccuracy – no detailed pedal markings (only
at the beginning of the piece), all ties are missing. - characteristic similarities concern FE to the same extent as A – superfluous
before g
1 in b. 6, no 
restoring a1 in b. 13.
Dating – see the Prelude in A minor no. 2.
| Original in: | Pivate collection |
| Shelf-mark: | None |
