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-Fantaisie op. 61
for pianoforte in A Flat Major, Op. 61 (Br. 159,
815-821)
composed in 1845/autumn-1846/summer, published in 1846
dedicated to Madame A. Veyret
"Now I'd like to
complete a Sonata with cello, a Barcarolle, and something
else, I don't know what I'll call it." - From Chopin's
letter to his family in Warsaw, Paris 12 Dec 1845
"Please could you add to the title of the polonaise:
Dedicated to Madame A. Veyret." - From Chopin's letter to
Franchomme in Paris, Nohant 13 Sep 1846
Nocturne op. 62, 1
for pianoforte in B Major, Op. 62, 1 (Br. 161,
KK. 822-835)
composed in 1846, published in 1846
Nocturne op. 62, 2
for pianoforte in E Major, Op. 62, 2 (Br. 161,
KK. 822-835)
composed in 1846, published in 1846
two nocturnes dedicated to Madame de K�nneritz
Mazurka op. 63, 1
for pianoforte in B Major, Op. 63, 1 (Br. 162,
KK. 836-848)
composed in 1846/autumn early, published in 1847
Mazurka op. 63, 2
for pianoforte in F minor, Op. 63, 2 (Br. 162,
KK. 836-848)
composed in 1846/autumn early, published in 1847
Mazurka op. 63, 3
for pianoforte in C sharp minor, Op. 63, 3 (Br. 162,
KK. 836-848)
composed in 1846/autumn early, published in 1847
three mazurkas dedicated to Madame la Comtesse Laura Czosnowska
�I have three
new mazurkas, I believe that they do not contain the old
holes [�], but a correct judgment requires time. As long as
one works, everything seems to go well; otherwise nothing
would get written. Only later does one reflect, and either
rejects or accepts. Time is the best censor and patience �
the best teacher.� - From a letter by F. Chopin to his
family in Warsaw, Nohant 11 Oct 1846
Waltz op. 64, 1
for pianoforte in D Flat Major, Op. 64, 1 (Br. 164,
KK. 849-869)
composed in 1846-47, published in 1847
dedicated to Comtesse Delphine Potocka
"In the first
waltz, Chopin turned the four beginning bars into
approximately two; it should unravel like from a ball, he
used to say. The time was introduced together with the bass
in the fifth bar." - Wilhelm von Lenz, Uebersichtliche Beurtheilung der Pianoforte - Compositionen von Chopin, Neue
Berliner Musikzeitung, 18 Sep 1872
"A great lady who was present at the last concert in Paris
(1848), when he played among other works his valse in D
flat, wished to know 'le secret de Chopin pour que les
gammes fussent si coul�es sur le piano'. Madame Dubois who
related this incident to me, added that the expression was
felicitous, for this 'limpidit� d�dicate' had never been
equalled." - F. Niecks Chopin as a man and musician, London
1902
Waltz op. 64, 2
for pianoforte in C sharp minor, Op. 64, 2 (Br. 164,
KK. 849-869)
composed in 1846-47, published in 1847
dedicated to Madame la Baronne Nathaniel de Rothschild
"It was
difficult to satisfy Chopin in this waltz. Only he was
capable of linking the only semiquaver in the third bar with
the succeeding crotchet." - Wilhelm von Lenz,
Uebersichtliche Beurtheilung der Pianoforte - Compositionen
von Chopin, Neue Berliner Musikzeitung, 18 Sep 1872
Waltz op. 64, 3
for pianoforte in A Flat Major, Op. 64, 3 (Br. 164,
KK. 849-869)
composed in 1846-47, published in 1847
dedicated to Mademoiselle la Comtesse Catherine Branicka
Sonata op. 65
for pianoforte in & cello in G
minor, Op. 65 (Br. 160, KK. 870-888)
composed in 1845/autumn-1846, published in 1847
dedicated to August Franchomme
"Now I'd like
to complete a Sonata with cello, a Barcarolle, and something
else, I don't know what I'll call it." - From Chopin's
letter to his family in Warsaw, Paris 12 Dec 1845
_________________________________________________________________
CHOPIN : THE POET OF THE PIANO - � by Anh Tran. All rights reserved
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