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Therefore the first editions of those works contained only the piano part and reduced the tutti orchestral parts to a piano score. The prices printed on the title pages of those works suggest that only the scores with complete orchestral voices were distributed. That accompaniment, added in handwriting to the issue of the French first edition belonging to the student Jane Stirling, was published in the Oxford edition by Eduard Ganche and recently also in the National Edition by Jan Ekier. In his discussion of the Sonata in B-flat Minor, Op.

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The description of that manuscript in auction catalogue by L. Therefore, it should be assumed that the March was written in Judging by the existing editions of the March , it must have had several reprints. Unfortunately, the manuscript of the Sonata in B-flat Minor has not been found. Only the editorial copy by Adolf Gutmann is known Kob.

It allows for a conclusion about what the musical notation in the manuscript looked like. Here, more than in other manuscripts, here the composer used an abbreviated way of noting the musical text. Even the accompaniment of the first theme in the part Grave Doppio movimento is marked by the appropriate repetition signs in the measures repeating certain figures of the accompaniment. In the Funeral March the repetition of whole measures is also marked in a similar way. The repetition in the Scherzo as well as the the March is marked by numbers which refer the contents of the repeated measures to the earlier specific spots.

As in the Mazurka in B Minor, Op. The copyist numbered the first ten measures, and then repeated all ten numbers in the repetition starting from measure Analysis of the text shows that only 8 measures or 12 measures should be repeated.


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They must also have been removed from one of the first reprints of the French first edition since they can be found neither in the C. Yet in the first German edition and in its later reprints or new editions, including the edition by Friedman , the Finale of the Sonata in B-flat Minor is longer by those two measures.

Bearing in mind the abbreviated musical notation in the Sonata in B-flat Minor described above, one cannot conclude that Chopin always revised, made corrections, and added variations when composing. Sometimes the composer wanted a mechanical, identical repetition, as in the Sonata in B-flat Minor. The chronology of the completion and first editions of the sonata forms based on research is as follows:.

Upper-case abbreviations list editions see note According to Julian Fontana, the first work of that genre is the Nocturne in E Minor, completed in and included by Fontana in Opus Nonetheless, recently Jan Ekier questioned it and suggested the work had been composed between and The absolute lack of manuscript data does not allow for a plausible conclusion about how Chopin dealt with the problem Jan Ekier is preoccupied with, i.

There, already in the third measure, the characteristic pattern of a dotted eighth-note with a sixteenth note appears against a typically nocturne-like accompaniment based on arpeggiated triads. The notation of that measure in the first edition by Fontana is not uniform. In a version of the French edition by Meissonnaire, the vertical arrangement of the notes suggests the sixteenth note should be performed at the same time as the third note of the triplet. The same notes arranged a bit differently in a version of the German edition by Schlesinger suggest that the sixteenth note be performed after the third note of the triplet as, in a similar context, with the first part of the Moonlight Sonata by Beethoven.

Writing of the first collection of the Nocturnes, Op. He stated they might have been written in , or even Schlesinger was in the process of completing the deal for their publication with F. Kistner see the discussion of this issue by Zofia Lissa.

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Nocturne pour le piano. A typical simultaneous polymetry can be found here, which could hardly have been intentional. Eventually he gave it up. That way he created a kind of metric interpolation. He also suggests there was another manuscript that cannot be found.

Chopin - Mazurka Opus 7 no.2 [HD piano tutorial]

The above difficulties caused the Lento to be omitted in several editions e. The study of the musical interpretation of a nocturne under the supervision of the composer reveals that the composer considered it an occasion to modify the original text. Here a very special example is the Nocturne in E-flat Major, Op. The most variations could supposedly be found in a separate publication by Karol Mikuli. Today it is difficult to learn if it was by mistake that Mikuli was credited for spreading the variations included by Scholtz.

But no manuscripts or editorial manuscripts of the nocturnes from Opus 9, 15 and 32 are known today. The editorial manuscript of opus 27 is incomplete and includes only the second Nocturne in D-flat Major. It is also the only known manuscript of a nocturne with metronome markings.

Schlesinger for both the opuses. Starting from the Nocturnes, Op. As mentioned before, the documentation was found and recreated for the F. The availability of the receipts and offers collected and published by Jeffrey Kallberg in has already contributed to the research on the chronology of works, and it could be a starting point for further research.

Still open is the question of the date of completion of certain works within the opus. Not having seen Fontana for almost a year, Chopin reminds him in the letter about the Nocturne in G Minor, to be connected with a new Nocturne in G Major which he was composing at that time. Upper-case abbreviations list editions. The Polonaise in G Minor, played today by beginning pianists, disappeared from sight for over years. A copy of the published work was found by Jachimecki as late as For instance, the latter informs us that the Polonaise in G-sharp Minor WN 5, which he published in , had been written when the composer was That date was questioned by Friedrich Niecks.

Bearing in mind both sources, Jachimecki tried to reach a consensus and stated the years as the date of completion of the work. It is the manuscript with a dedication and a later date, not the one of its completion Kob. She does, however, include the Polonaise in G-flat Major. Jachimecki probably found it necessary to go against what he considered the reliable opinion of Frederick Niecks, who thought that only a manuscript could constitute proof of authenticity. There was a simple reason for that: Oskar Kolberg was responsible for delivering the text of the Polonaise in G-flat Major to the publisher but he failed to do so in time.

This edition was already rare in those days, and it remains unknown today. From the editorial notes on a copy which still exists in A. This edition is based on an unknown source and the work is longer by one measure because measure 31 is repeated. Although as early as at the age of 16 Chopin decided to release the first mazurkas in B-flat Major, WN 7 and G Major, WN 8, he did so only for friends in the form of lithography copied on loose sheets of paper. Today, only the sheet containing the text of the Mazurka in G Major is known. The sheets probably served as a basis for the copies of mazurkas now preserved in the National Library in Paris and the first Polish edition by R.

Upper-case abbreviations list editions see note According to Julian Fontana, the first work of that genre is the Nocturne in E Minor, completed in and included by Fontana in Opus Nonetheless, recently Jan Ekier questioned it and suggested the work had been composed between and The absolute lack of manuscript data does not allow for a plausible conclusion about how Chopin dealt with the problem Jan Ekier is preoccupied with, i.

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There, already in the third measure, the characteristic pattern of a dotted eighth-note with a sixteenth note appears against a typically nocturne-like accompaniment based on arpeggiated triads. The notation of that measure in the first edition by Fontana is not uniform. In a version of the French edition by Meissonnaire, the vertical arrangement of the notes suggests the sixteenth note should be performed at the same time as the third note of the triplet. The same notes arranged a bit differently in a version of the German edition by Schlesinger suggest that the sixteenth note be performed after the third note of the triplet as, in a similar context, with the first part of the Moonlight Sonata by Beethoven.

Writing of the first collection of the Nocturnes, Op. He stated they might have been written in , or even Schlesinger was in the process of completing the deal for their publication with F. Kistner see the discussion of this issue by Zofia Lissa. Nocturne pour le piano. A typical simultaneous polymetry can be found here, which could hardly have been intentional. Eventually he gave it up. That way he created a kind of metric interpolation. He also suggests there was another manuscript that cannot be found.

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The above difficulties caused the Lento to be omitted in several editions e. The study of the musical interpretation of a nocturne under the supervision of the composer reveals that the composer considered it an occasion to modify the original text. Here a very special example is the Nocturne in E-flat Major, Op. The most variations could supposedly be found in a separate publication by Karol Mikuli.

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Today it is difficult to learn if it was by mistake that Mikuli was credited for spreading the variations included by Scholtz. But no manuscripts or editorial manuscripts of the nocturnes from Opus 9, 15 and 32 are known today. The editorial manuscript of opus 27 is incomplete and includes only the second Nocturne in D-flat Major. It is also the only known manuscript of a nocturne with metronome markings. Schlesinger for both the opuses. Starting from the Nocturnes, Op. As mentioned before, the documentation was found and recreated for the F. The availability of the receipts and offers collected and published by Jeffrey Kallberg in has already contributed to the research on the chronology of works, and it could be a starting point for further research.

Still open is the question of the date of completion of certain works within the opus.

Not having seen Fontana for almost a year, Chopin reminds him in the letter about the Nocturne in G Minor, to be connected with a new Nocturne in G Major which he was composing at that time. Upper-case abbreviations list editions. The Polonaise in G Minor, played today by beginning pianists, disappeared from sight for over years.

A copy of the published work was found by Jachimecki as late as For instance, the latter informs us that the Polonaise in G-sharp Minor WN 5, which he published in , had been written when the composer was That date was questioned by Friedrich Niecks. Bearing in mind both sources, Jachimecki tried to reach a consensus and stated the years as the date of completion of the work. It is the manuscript with a dedication and a later date, not the one of its completion Kob.