WORKS WITHOUT OPUS : INDEXED WORKS | UNINDEXED WORKS
WORKS WITH OPUS : 01-05 | 06-10 | 11-15 | 16-20 | 21-25
26-30 | 31-35 | 36-40 | 41-45 | 46-50
51-55 | 56-60 | 61-65 | 66-70 | 71-74
Polonaise op. 26, 1
for pianoforte in C sharp minor, Op. 26, 1 (Br. 90) composed in 1834-35
Polonaise op. 26, 2
for pianoforte in E Flat minor, Op. 26, 2 (Br. 90) composed in 1834-35
two polonaises dedicated to Joseph Dessauer
"As far as the Polonaise in E flat minor is concerned, with its engaging Trio in C flat major, written enharmonically in B major, I encountered the same trouble as with the Scherzo in B flat minor: Chopin wouldn't permit me to play it. You wouldn't get it right, he said laconically. Instead I managed to play the Polonaise in C sharp minor to his satisfaction." - Wilhelm von Lenz, Uebersichtliche Beurtheilung der Pianoforte - Compositionen von Chopin, Neue Berliner Musikzeitung, 18 Sep 1872
Nocturne op. 27, 1
for pianoforte in C sharp minor, Op. 27, 1 (Br. 91) composed in 1835
Nocturne op. 27, 2
for pianoforte in D Flat Major, Op. 27, 2 (Br. 96) composed in 1835/autumn
two nocturnes dedicated to Madame la Comtesse d'Apponyi
Prelude op. 28, 1
for pianoforte in C Major, Op. 28, (Br. 124) composed in 1839/11 (?)
Prelude op. 28, 2
for pianoforte in A minor, Op. 28, 2 (Br. 123) composed in 1838/11-12
Prelude op. 28, 3
for pianoforte in G Major, Op. 28, 3 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 4
for pianoforte in E minor, Op. 28, 4 (Br. 123) composed in 1838/11-12
Prelude op. 28, 5
for pianoforte in D Major, Op. 28, 5 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 6
for pianoforte in B minor, Op. 28, 6 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 7
for pianoforte in A Major, Op. 28, 7 (Br. 100) composed in 1836
Prelude op. 28, 8
for pianoforte in F Sharp Major, Op. 28, 8 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 9
for pianoforte in E Major, Op. 28, 9 (Br. 107) composed in 1836-1838/11
Prelude op, 28, 10
for pianoforte in C sharp minor, Op. 28, 10 (Br. 123) composed in 1838/11-12
Prelude op. 28, 11
for pianoforte in B Major, Op. 28, 11 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 12
for pianoforte in G sharp minor, Op. 28, 12 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 13
for pianoforte in F Sharp Major, Op. 28, 13 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 14
for pianoforte in E flat minor, Op. 28, 14 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 15
for pianoforte in D Flat Major, Op. 28, 15 (Br. 107) composed in 1836-1838/11
"There is one prelude which he conceived on a certain damp and gloomy evening and which plunges the spirit into a terrible despair. When I drew his attention to the sound of water which really did fall rhythmically onto the roof, he said he had not heard them. He was even angry that I was interpreting it as an expression of imitative harmony. His composition from that evening was full of raindrops, bouncing with an echo off the monastery's resonant roof-tiles, but in his imagination and melody, they became translated into tears falling from the sky onto his heart." - George Sand, Histoire de ma vie, Paris 1854
Prelude op. 28, 16
for pianoforte in B flat minor, Op. 28, 16 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 17
for pianoforte in A Flat Major, Op. 28, 17 (Br. 100) composed in 1836
"I remember once when I was playing the 17th prelude of Chopin, Madame Dubois said that Chopin himself used to play that bass note A flat in the final section (in spite of playing everything else diminuendo) with great strength. He always struck that note in the same way and with the same strength, because of the meaning he attached to it. He accentuated that bass note, he proclaimed it, because the idea of that prelude is based on the sound of an old clock in the castle which strikes the eleventh hour. Chopin always insisted the bass note should be struck with the same strength, no diminuendo, because the clock knows no diminuendo." - Paderewski, M. Lawton, The Paderewski Memoirs, London 1939
Prelude op. 28, 18
for pianoforte in F minor, Op. 28, 18 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 19
for pianoforte in E Flat Major, Op. 28, 19 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 20
for pianoforte in C minor, Op. 28, 20 (Br. 107) composed in 1836-1838/11
"Those chords were celestial rather than of this earth, they were chord full of an inspiration reaching toward eternity." - From a letter by Jane Stirling to Ludwika Jedrzejewicz in Warsaw, Paris 12 Jun 1850
Prelude op. 28, 21
for pianoforte in B Flat Major, Op. 28, 21 (Br. 123) composed in 1838/11-12
Prelude op. 28, 22
for pianoforte in G minor, Op. 28, 22 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 23
for pianoforte in F Major, Op. 28, 23 (Br. 107) composed in 1836-1838/11
Prelude op. 28, 24
for pianoforte in D minor, Op. 28, 24 (Br. 107) composed in 1836-1838/11
twenty four preludes dedicated to Monsieur Camille Pleyel
Impromptu no. 1 op. 29
for pianoforte in A Flat Major, Op. 29 (Br. 110) composed in 1837
dedicated to Mademoiselle Caroline de Lobau
"I, the undersigned, residing in Paris in 34 rue de Lazare, confirm that I sold to Messrs. Breikopf and Hartel in Leipzig the rights to the below listed work of my composition: Op. 29 Impromptu. I declare that I ceded the rights to the above mentioned gentlemen without any reservation or restriction, forever and for all countries with the exception of France and England, and confirm that I received the arranged fees for which a separate receipt has been given." - From a letter sent by Chopin to the company Breikopf and Hartel in Leipzig, Paris 16 Dec 1843
Mazurka op. 30, 1
for pianoforte in C minor, Op. 30, 1 (Br. 105) composed in 1836-37
Mazurka op. 30, 2
for pianoforte in B minor, Op. 30, 2 (Br. 105) composed in 1836-37
Mazurka op. 30, 3
for pianoforte in D Flat Major, Op. 30, 3 (Br. 105) composed in 1836-37
Mazurka op. 30, 4
for pianoforte in C sharp minor, Op. 30, 4 (Br. 105) composed in 1836-37
four mazurkas dedicated to la Comtesse Anna Czartoryska Wirtemberska
