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
Scherzo no. 2 op. 31
for pianoforte in B flat minor, Op. 31 (Br. 111, KK. 505-509)
composed in 1837, published in 1837
dedicated to Mademoiselle la Comtesse Ad�le de F�rstenstein
"This should be a question. Chopin taught, and it was never question enough for him, never played 'piano' enough, never sufficiently falling away (tomb�), as he said, never 'important' enough. This must be a charnel house, he once said. He was also heard to say that this is the key to the whole composition. He was equally demanding as to the simple, quaver accompaniment to the cantil�ne and the cantil�ne itself. One should imagine the Italian canto and not the French vaudeville, he once declared mockingly." - Wilhelm von Lenz, Uebersichtliche Beurtheilung der Pianoforte - Compositionen von Chopin, Neue Berliner Musikzeitung, 11 Sep 1872
Nocturne op. 32, 1
for pianoforte in B Major, Op. 32, 1 (Br. 106, KK. 510-519)
composed in 1836-37, published in 1837
Nocturne op. 32, 2
for pianoforte in A Flat Major, Op. 32, 2 (Br. 106, KK. 510-519)
composed in 1836-37, published in 1837
two nocturnes dedicated to Madame la Comtesse Camille de Billing de Courbonne
Mazurka op. 33, 1
for pianoforte in G sharp minor, Op. 33, 1 (Br. 115, KK. 520-548)
composed in 1837-38, published in 1838
Mazurka op. 33, 2
for pianoforte in D Major, Op. 33, 2 (Br. 115, KK. 520-548)
composed in 1837-38, published in 1838
�During one of my lessons with Chopin Meyerbeer made his appearance [�] I was just playing the Mazurka in C major. Meyerbeer sat down and Chopin told me to continue.
�This is in 2/4 time,� Meyerbeer said,
Chopin contradicted him, told me to start again, and kept time by loudly tapping a pencil against the piano top [�].
�2/4� Meyerbeer repeated calmly.
This was the only occasion when I saw Chopin lose his temper. [�]
�It is in 3/4 ,� he raised his voice, although it was his custom to speak softly.
�Lend me [this theme] for the ballet in my opera (the �Africaine�, written in secret),� continued Meyerbeer �and I shall prove it to you.
�It is in 3/4,� reiterated Chopin almost shouting, and played himself. He performed the Mazurka several times, counting loudly and keeping time with his foot: he lost all control!
To no avail. Meyebeer insisted on 2/4. They parted in an irritated mood. [�] Chopin disappeared in his study without bidding me goodbye. The whole situation lasted barely several minutes. [�] Nonetheless, it was Chopin who was right: despite the fact that the third value is swallowed in the above theme, it does not cease existing.� - Wilhelm von Lenz, Die grossen pianoforte, Virtuosen unserer Zeit, Berlin 1872Mazurka op. 33, 3
for pianoforte in C Major, Op. 33, 3 (Br. 115, KK. 520-548)
composed in 1837-38, published in 1838
� [Princess Marcelina Czartoryska] succumbed [...] to my requests and played several mazurkas, among others the known Mazurka in D major. I was struck by the way in which this aged pianist interpreted the main theme. At the beginning she played in a vulgar, coarse manner, without any subtler shading. Only when the theme reappears at the end of the composition did she execute it with a soft, caressing touch, in a thoroughly delicate and sophisticated manner. I asked her why she treated the main theme of the composition in such a divergent fashion. She replied that she was taught this approach by Chopin who wished to depict the contrast between the tavern and the salon. This is the reason why he told her to interpret the same melody so differently; at the beginning it is supposed to illustrate the vulgar atmosphere of a tavern, and at the end � the elegance of salons�� - Aleksander Michalowski, Jak gral Fryderyk Szopen, in: Szopen, coll. Monographic work, �Muzyka� 1932.
Mazurka op. 33, 4
for pianoforte in B minor, Op. 33, 4 (Br. 115, KK. 520-548)
composed in 1837-38, published in 1838
�Although it does not have the title [this Mazurka� is a Ballade. Chopin himself taught it as a Ballade and stressed the narrative tone of this extremely expanded composition, with a charming Trio in B major. At the very send the bells tolls [�] and the phantom suddenly disappears in the last chord. These are Chopin�s words.� - Wilhelm von Lenz, Die grossen pianoforte, Virtuosen unserer Zeit, Berlin 1872
four mazurkas dedicated to Mademoiselle la Comtesse Rose Mostowska
Waltz op. 34, 1
for pianoforte in A Flat Major, Op. 34, 1 (Br. 94, KK. 549-569)
composed in 1835/9/15, published in 1838
dedicated to Mademoiselle de Thun Hohenstein
Waltz op. 34, 2
for pianoforte in A minor, Op. 34, 2 (Br. 64, KK. 549-569)
composed in 1834, published in 1838
dedicated to Madame la Baronne C. D'Ivry
"Here is the valse m�lancolique. You see that you shall never play it as long as you live, but since you understand it well, I wish to add something to it." - Wilhelm von Lenz, Die grossen pianoforte, Virtuosen unserer Zeit, Berlin 1872
Waltz op. 34, 3
for pianoforte in F Major, Op. 34, 3 (Br. 118, KK. 549-569)
composed in 1838, published in 1838
dedicated to Mademoiselle A. Eichthal
Sonata no. 2 op. 35
for pianoforte in B flat minor, Op. 35 (Br. 128, KK. 570-580)
composed in 1839/summer, published in 1840
The Funeral March from Sonata op. 35 for pianoforte in B flat minor Op. 35 (Br. 114) was composed in 1837 before other movements.
"I'm writing a sonata in B flat minor here, containing my march which you know. There's an Allegro, then a Scherzo in E flat minor, a march and short finale, maybe 3 sides long; the left hand and the right hand in unison chat after the march." - From Chopin's letter to Fontana in Paris, Nohant 8 Aug 1839
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