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. 24, Prelude in D minor
In each of b. 44-46, 49, 52, 56 and 58, the L.H. part is marked with a •/• in A (→FC), which implies that the preceding bar should be repeated. Moreover, in FC the copyist, contrary to A, marked entire b. 48 in such a way. The abridged notation was used in the manuscripts also in the remaining bars to mark the 2nd half of the bar – b. 43, 47, 48 (only A), 50, 51, 53-55 and 57. Similar notation was also used in FE, where the 2nd half of the bar was marked with a / in b. 43-54 and 57-58.
Compare the passage in the sources »
category imprint: Differences between sources; Source & stylistic information
issues: Abbreviated notation of A, FE revisions, Fontana's revisions
notation: Shorthand & other
