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. 63 No. 2, Mazurka in F minor
As is a typical sketch – without title, key signature, without any performance indications except a slur from the grace note to the d
2 crotchet in bar 41 and perhaps a staccato dot over this crotchet. We do not consider these deficiencies to be variants, since they are simply a feature of the 'sketchy' nature of this manuscript. We discuss the deviations from the final pitch and rhythmic text in notes concerning particular places.
What is more, on a number of occasions, the notation is abridged or incomplete – repeated L.H. chords are written down as stems without noteheads; repeating sections are indicated only by the melodic voice (bars 27-32), while the return of the first section of the Mazurka (from bar 42) was marked with a zigzag meaning 'and so on and so forth'. There are also quite many omissions of accidentals. We reproduce such notation only in the graphic transcription (version 'transcript'). In the content transcription we fill in all these abbreviations, which, in terms of pitch and rhythm, leads to a version that is close to the published text (especially in the outermost sections).
Compare the passage in the sources »
category imprint: Differences between sources
notation: Shorthand & other
