Chopin, Frederic 1810 - 1849
Author: Nishihara, Minoru
Last updated：September 1, 2008
Author: Nishihara, Minoru
Chopin's Life
Fryderyk Chopin was born on March 1, 1810, to Mikołaj Chopin, a Frenchman, and Justyna Krzyżanowska, a Pole. His father moved to Poland at the age of 16 and worked as a tutor for Count Skarbek, among others. There, he met Krzyżanowska, a distant relative of the Count's family who worked as a maid, and they married in 1806. Besides his elder sister Ludwika, who was three years his senior, Chopin had two younger sisters, Izabela (born 1811) and Emilia (born 1813). He shared a strong bond with Ludwika, who was present at his deathbed.
The family lived in a musical environment, with his father enjoying the violin as an amateur and his mother having a fondness for piano and vocal music. Chopin began to play the piano in this household at the age of four. At six, he began studying piano with Wojciech Żywny. This piano education under Żywny formed the foundation of Chopin's musicality. The composers whose works Żywny introduced to Chopin were Mozart, Bach, Haydn, and Hummel.
In 1817, the family moved to a section of the Kazimierz Palace, achieving a more comfortable living environment. It was in this year that Chopin composed his first work, the Polonaise in G minor, which was published with the assistance of Skarbek. The following year, he performed a piano concerto at the Radziwiłł Palace, and his exceptional talent garnered attention. From this period, he showed a keen sensitivity to Polish national idioms. In 1821, the 11-year-old Chopin composed the Polonaise in A-flat major to celebrate the 65th birthday of his esteemed teacher, Żywny. An indication of Chopin's already outstanding performance ability at this time is his performance of Ferdinand Ries's Piano Concerto at the age of 12. Ries was a renowned composer known as a leading virtuoso of the early 19th century. In this year, Chopin began to receive composition instruction from Józef Elsner.
In 1823, the 13-year-old Chopin entered high school. Among his schoolmates was Fontana, who would later contribute to the publication of Chopin's posthumous works. Before graduating from high school in 1826, Chopin had the honor of receiving a ring during the Russian Emperor's visit to Warsaw. After graduating from high school, he enrolled in the Warsaw Conservatory, where Elsner served as director. It was around this time that Chopin began to express his individuality as a composer, with works such as Rondo à la Mazur (Op. 5) and Variations on 'Là ci darem la mano' from Mozart's Opera Don Giovanni (Op. 2) being composed. Elsner is said to have strived to foster Chopin's individuality in composition and piano performance without compromising his delicate sensibility.
In 1828, Chopin traveled abroad for the first time, visiting Berlin to see Weber's Der Freischütz and other works. In this year, in addition to the Piano Sonata No. 1 (Op. 4), Chopin composed ambitious works: Piano Trio in G minor (Op. 8), Fantaisie on Polish Airs (Op. 13), and Rondo à la Krakowiak (Op. 14). This last work was performed alongside Variations on 'Là ci darem la mano' from Mozart's Opera Don Giovanni (Op. 2) at a concert in Vienna's Kärntnertor Theater in 1829, receiving great acclaim. All of Chopin's concertos and concertante works for piano and orchestra are concentrated in this early period. The Piano Trio in G minor was dedicated to Prince Radziwiłł, for whom Chopin also taught piano to his daughters and composed the Introduction and Polonaise brillante (Op. 3) for cello and piano, as the Prince was a cellist.
After graduating from high school in 1829, Chopin traveled to Vienna and gave the aforementioned concert. In this year, the Piano Concerto No. 2 (Op. 21) was composed. During this period, Chopin was deeply enamored with a woman named Konstancja Gładkowska, and the Waltz (Op. 70-3) was composed for her. On March 17, 1830, after premiering the aforementioned Piano Concerto No. 2 in Warsaw, Chopin departed for Vienna again. On October 11, a farewell concert was held, featuring Piano Concerto No. 1 (Op. 11) and Op. 13. Upon arriving in Vienna, the situation drastically changed with the outbreak of the November Uprising in Warsaw, a resistance against Russian rule. Poles were placed under surveillance as dangerous individuals. In 1831, although he held a concert in Vienna, he was disappointed with the city and finally obtained a visa for London via Paris, heading for Paris. He arrived in Paris in September. En route, in Stuttgart, he received news of the suppression of the Warsaw Uprising and fell into deep despair. In this year, the Etude Revolutionary (Op. 10-12) was written, and a collection of songs was also composed.
Upon arriving in Paris, Chopin became acquainted with Liszt and reconnected with Mendelssohn. Chopin, upon his arrival in Paris, desired instruction from Kalkbrenner, a renowned virtuoso and piano pedagogue in Paris at the time. However, Elsner opposed this, believing it would compromise Chopin's individuality. Kalkbrenner was also known for his teaching method using a piano training device called the Guidon-Main. Another important musician Chopin met in Paris was the cellist Auguste Franchomme. From this encounter with Franchomme, the Grand Duo Concertant on Themes from Meyerbeer's Opera Robert le Diable (b-1, without opus number) was composed in 1831.
Chopin is thought to have encountered Field's Nocturnes even before leaving Warsaw, with the E minor (Op. 72-1) composed in 1829 and the C-sharp minor (without opus number) in 1830. The Nocturnes (Op. 9), composed in 1832, are known as masterpieces and show a connection to Field's style. This work was dedicated to Madame Pleyel. An important figure Chopin came to know in Paris was Pleyel, who ran a piano manufacturing business. Chopin praised Pleyel's pianos as having a "perfume-like scent," and they became a source of inspiration for his music.
At that time, many Polish exiles resided in Paris. Among them were Czartoryski, who led the Polish revolution, and the poet Mickiewicz. Standing out among them was Countess Potocka, whose salon, rich in musical and artistic culture, attracted numerous cultural figures. She was the woman Chopin trusted most, and at his deathbed, she sang an aria at his request.
Chopin's life in Paris was transformed by gaining the acquaintance of Baron Rothschild. In 1832, Chopin, accompanied by Prince Radziwiłł, visited the salon of the wealthy Baron. This marked Chopin's debut in high society. The Baroness was captivated by Chopin's musical talent and requested him to teach piano to her daughter, Charlotte. Subsequently, aristocrats and wealthy individuals flocked to him for piano lessons, and Chopin's financial situation in Paris rapidly improved. Charlotte was a musically talented woman, and Chopin dedicated Ballade No. 4 and waltzes to her.
A major concern for Chopin living in Paris was his family. He reunited with his parents in August 1835 in Karlsbad, a Bohemian spa town, where he spent three weeks with them. On his way back, he visited the Wodziński family, who were staying in Dresden. Felix Wodziński had been his friend since boarding school. During this stay, Chopin met Felix's sister, Maria, and was deeply captivated by the beautiful grown-up Maria. Upon their farewell, he presented her with a Waltz. This is the famous Farewell Waltz (Op. 69-1). In October, he visited Leipzig, where he reconnected with Mendelssohn and met Robert and Clara Schumann. Schumann, in his Neue Zeitschrift für Musik, highly praised Chopin's Op. 2, featured Chopin in his Carnaval, and later dedicated Kreisleriana to him.
In July of the following year, he reunited with Maria Wodzińska in Marienbad, also a Bohemian spa town. Chopin refused to renew his visa at the Russian embassy in Paris, which prevented him from entering Russian-controlled Poland, thus forcing them to meet in such border towns. In September, Chopin proposed to Maria. Upon returning to Paris, Chopin met George Sand at Marie d'Agoult's salon.
In February 1837, Chopin contracted influenza, and his health deteriorated. This event negatively affected Maria Wodzińska's parents, and in July, Chopin received a letter from Maria breaking off their engagement, and his letters to her were returned to him. Chopin tied this bundle of letters with a ribbon, inscribed it "My sorrow," and kept it with him for the rest of his life. In this year, the Etudes (Op. 25) and Piano Sonata No. 2 were composed. With the separation from Maria, Chopin's relationship with Sand deepened. In November of the same year, Chopin stayed with Sand on Mallorca. During this stay, he continued composing the Preludes. However, his long-standing tuberculosis worsened, and in February 1839, he returned to Marseille, France, and settled in Nohant, where Sand had a country house. Despite his deteriorating health, he was creatively prolific, completing works such as the Preludes, Impromptu No. 2, Ballade No. 2, Scherzo No. 3, and Polonaise No. 4.
From this period until 1846, Chopin's life and activities revolved around Nohant and Parisian salons, with visitors to Nohant including Pauline Viardot and Delacroix. During this time, in 1842, his friend Jan Matuszyński died with Chopin at his side. This death deeply affected Chopin. In the winter of 1843, Chopin's health began to worsen, and in early 1844, he again contracted influenza and became critically ill. His condition finally improved in the spring, but on May 25, he received news of his father's death and fell into deep despair. Sand wrote a letter to Chopin's mother expressing condolences and her feelings for Chopin. In July, his sister Ludwika visited Chopin in Paris. It was their first reunion in 14 years.
However, Chopin gradually became entangled in the strained relationship between Sand and her two children, particularly losing his place in the conflict between her daughter Solange and Sand. Amidst this turmoil, masterpieces such as the Barcarolle, Fantaisie-Polonaise, and Cello Sonata were written in 1846. Then, in 1847, when Solange married, Chopin's understanding of her created a rift with Sand, and finally, on July 28, Sand broke off their relationship. This separation marked a major turning point in Chopin's life.
Now alone, Chopin traveled to London in April at an invitation, where he taught Jane Stirling. In England, he had the honor of performing at a concert seated next to Queen Victoria, but for Chopin, whose body was weakened by tuberculosis, this trip accelerated his decline. In England, he also gave concerts in Manchester, Glasgow, and Edinburgh, in addition to London.
Returning to Paris in November, Chopin was confined to his bed, and in June, he suffered a severe hemorrhage. At Chopin's request to see his sister Ludwika again, Ludwika arrived in Paris in August. On October 17, he passed away, attended by Countess Potocka and his sister Ludwika. The funeral was held on October 30 at the Church of La Madeleine.
List of Works
Chopin himself assigned opus numbers up to Op. 65; subsequent opus numbers were assigned by Fontana. Besides the so-called "Brown Catalogue," which organizes Chopin's works chronologically, the Kobylańska Catalogue is now generally used.
Explanations of Works
Works for Piano and Orchestra
Works for piano and orchestra are concentrated in Chopin's early period. The first work Chopin composed in this genre was the Variations on 'Là ci darem la mano' from Mozart's Opera Don Giovanni' (Op. 2), composed in 1827, famously praised by Schumann with the words, "Hats off, gentlemen, a genius!" Subsequently, the Fantaisie on Polish Airs (Op. 13) was composed in 1828. This work was performed alongside Piano Concerto No. 1 at the farewell concert on October 11, 1830.
In the same year, Rondo à la Krakowiak (Op. 14) was composed and performed at a concert in Vienna in 1829, receiving high acclaim. Krakowiak refers to a Polish dance from the Kraków region. In this year, the composition of Piano Concerto No. 2 in F minor (Op. 21) began, completed in 1830. It features particularly imaginative orchestration, especially in the use of wind instruments, and the third movement incorporates the expression of the national dance, Oberek. Subsequently, Piano Concerto No. 1 in E minor (Op. 11) was completed. Its musical structure is more robust than that of the Second Concerto, and it is performed more frequently. The first movement uses Mazur and Polonaise rhythms, and the third movement incorporates the expression of the Krakowiak. The dreamy second movement is exceptionally beautiful. Both of these concertos were premiered in 1830 with Chopin as the piano soloist.
Chopin's last work for piano and orchestra is Andante spianato et Grande Polonaise brillante (Op. 22). The work consists of two parts: the Grande Polonaise brillante, composed between 1830 and 1835, and the Andante spianato, composed in 1834, which was added to it.
Chamber Music
Chopin's chamber music, apart from his sole Piano Trio, consists of works for cello and piano. The Piano Trio in G minor (Op. 8), composed in 1828, like the Rondo à la Krakowiak composed in the same year, is characterized by brilliant, concerto-like piano playing. Although not frequently performed, it is a substantial and excellent work.
Introduction and Polonaise brillante in C major (Op. 3) is a work for cello and piano, composed for Prince Radziwiłł between 1829 and 1830. Chopin's interest in the cello deepened after moving to Paris, through his friendship with the cellist Auguste Franchomme. The Grand Duo Concertant on Themes from Meyerbeer's Opera Robert le Diable (b-1, without opus number) was composed with Franchomme's collaboration. The Cello Sonata in G minor (Op. 65), composed in 1846, belongs to Chopin's late period and was written for Franchomme. It is no exaggeration to say that this work stands as the pinnacle of Chopin's sonatas in terms of depth of expression, musical development, and structure.
Mazurkas
This is the genre where Chopin most strongly expressed his Polish national identity. Mazurka is not a specific dance name; his "Mazurkas" incorporate expressions of dances such as Mazur, Kujawiak, and Oberek. The Mazur, as seen in Dąbrowski's Mazurka, which became the Polish national anthem, is a symbolic dance representing Polish national character, and its accents are also related to the Polish language. Chopin continued to compose Mazurkas from his youth until his very last years, with over 60 pieces composed, including those without opus numbers, studies, and alternative versions (opus numbers are assigned up to No. 49).
Polonaises
The Polonaise is a Polish court dance, characterized by a powerful rhythm, and had been used as a dance form since the Baroque era. In the 19th century, it came to symbolize Poland's past glory. The Polonaise was one of the earliest genres Chopin composed; the G minor Polonaise, composed at age seven, was dedicated to Countess Skarbek. In addition, he composed at least nine Polonaises during his time in Poland, but the first works to which Chopin himself assigned opus numbers were the two Polonaises of Op. 26. Famous examples include No. 3 "Military" (Op. 40-1), No. 6 "Heroic" (Op. 53), and No. 7 "Fantaisie" (Op. 61).
Piano Sonatas
Three piano sonatas were composed. No. 1 (Op. 4) is a student work from his Warsaw Conservatory days, characterized by its polyphonic writing. Chopin's first full-fledged sonata is No. 2 (Op. 35), composed in 1839, a work that caused surprise and bewilderment to Schumann. The third movement, the "Funeral March," was composed separately in 1837, prior to the sonata's composition. The fourth movement's rushing unison is striking. No. 3 (Op. 58) is a substantial, monumental, and grand sonata, composed in 1844.
Scherzos
While the scherzo had previously been used as one of the middle movements in sonatas, it was Chopin who elevated it to an independent genre. Four were composed: No. 1 (Op. 20) quotes a Polish Christmas carol melody in its middle section. No. 2 (Op. 31) is the most famous. No. 4 (Op. 54) is the only one of the four in a major key.
Nocturnes
It was Chopin who gave artistic life to the nocturne, a genre originated by Field. Twenty-one nocturnes were composed, including posthumous works. Their dreamy, flowing music opened up a new world of expression in Romantic music, and this idiom was subsequently applied particularly to character pieces for piano.
Preludes
This genre was particularly popular in organ music during the Baroque era. Chopin not only composed them as individual short pieces but also infused them with new life in the 19th century. His use of all 24 major and minor keys demonstrates the influence of Bach's Well-Tempered Clavier. The collection was composed between 1838 and 1839.
Etudes
Chopin composed the Etudes (Op. 10, composed 1830-32), Etudes (Op. 25, composed 1835-37), and the Trois Nouvelles Études (Three New Etudes) without opus numbers. Op. 10 was dedicated to Liszt, and Op. 25 to Countess Marie d'Agoult. These collections not only pioneered a new world of concert etudes but also significantly transformed piano playing technique. Op. 10 was likely intended to cover all major and minor keys. Liszt and Hummel also shared this idea.
Impromptus
This genre was favored in the Romantic era, with Schubert being famous before Chopin. Chopin composed four impromptus. No. 1 in A-flat major (Op. 29) was composed in 1837, No. 2 in F-sharp major (Op. 36) in 1839, and No. 3 in G-flat major (Op. 51) in 1842. The most famous, Fantaisie-Impromptu (Op. 66), was composed in 1834 but not published during his lifetime, appearing posthumously.
Rondos
Most of Chopin's rondos are early works. Rondo in C minor (Op. 1) was composed in 1825 and published in Warsaw in the same year, but without an opus number at that time. The number was assigned when it was re-published in Berlin in 1835. Rondo à la Mazur (Op. 5) was composed in 1826 and uses a Mazurka theme. Rondo in E-flat major (Op. 16) was composed in 1833. Rondo in C major (Op. 73) is a work for two pianos. It was originally composed for solo piano in 1828 but was arranged for two pianos and published posthumously.
Variations
Only the Variations brillantes in B-flat major (Op. 12) on a theme from Hérold's opera Ludovic has an opus number, composed in 1833. Works without opus numbers include Introduction and Variations on a German National Air in E major (composed 1824) or, for piano duet, Variations in D major (composed 1826), and Souvenir de Paganini in A major (composed 1829). He also composed the sixth piece of the collaborative variations Hexameron on the march theme from Bellini's opera I puritani. This was a collaboration with Liszt, Thalberg, Pixis, Herz, and Czerny.
Individual Works
Allegro de Concert in A major (Op. 46) was originally composed in 1841 as the first movement of a piano concerto, but Chopin later abandoned the completion of the concerto and published it as a solo piece. This work has been arranged into a piano concerto by other composers. Fantaisie in F minor (Op. 49), also composed in 1841, begins with a solemn descending motif and has an overall sonata-form structure, making it a dramatic work. Berceuse in D-flat major (Op. 57) was composed in 1844 and is a set of variations. The right-hand theme is repeated 10 times in total, without modulation, and is embellished with ornamentation. Barcarolle in F-sharp major (Op. 60) is a late work by Chopin, composed in 1846. It features delicate expression over a gently swaying arpeggiated left-hand accompaniment in 12/8 time. Other individual pieces include Bolero (Op. 19), Tarantella (Op. 43), Funeral March (Op. 72-2), Trois Écossaises (Op. 72-3), and other short pieces without opus numbers.
Songs
Composed between 1827 and his final years in 1847, they were published in 1857 as 17 Polish Songs (Op. 74).
Chopin and the Piano
The manufacturer of the piano Chopin used during his Warsaw period is not clear, but it was undoubtedly a Vienna-action piano. Beethoven, at one point, used English-action pianos by Erard and Broadwood, but in Austria, Germany, and Poland at the time, traditional Vienna-action pianos were primarily used. The piano he used for his concert in Vienna in 1829 was undoubtedly a Vienna-action piano.
In Paris, Chopin was captivated by Pleyel pianos. These Pleyel pianos used an English action, meaning they employed the current method of striking the strings, but their action differed from that of Erard, which also used an English action. Erard had developed the double escapement, producing pianos capable of rapid key repetition. In contrast, Pleyel used the traditional single escapement string-striking method, which was common in Vienna-action pianos. While rapid key repetition was not easy, he deeply loved the natural and fragrant tone of this instrument. Chopin's famous saying, "When I am in good form, I play a Pleyel; when I am not, I use an Erard," is well-known.
Problems with Editions
A constant major issue with Chopin's scores is the edition. Currently, the so-called National Edition, the Ekier Edition, is published and used as the standard score. However, the Ekier Edition has not completely resolved the problems with Chopin's editions. Chopin published his scores in England, Germany, and France, in addition to his autograph manuscripts. This was a necessary measure to protect against illegal pirated editions at a time when international copyright was not established. However, because these three editions differ from each other, it has become impossible to definitively determine Chopin's final intentions.
Before the Ekier Edition, the Paderewski Edition, also a National Edition, was widely used. It has been widely popular as an edition based on the experience of the pianist Paderewski. In addition, the Cortot Edition, edited by Alfred Cortot, is still considered a valuable edition today. Historically significant editions also include those edited by Brahms and Debussy.
Chopin in the History of Piano Music
Chopin's piano works are highly individual, yet they are also connected to various musical trends of 19th-century piano music. During his Warsaw period, Chopin studied works by Mozart and Hummel under his teacher Żywny, and he also encountered works by Polish composers such as Maria Szymanowska, Józef Elsner, and Karol Kurpiński (a violinist respected by Schumann), as well as composers like Michał Kleofas Ogiński. It is certain that Chopin was widely exposed to works by Polish composers during his Warsaw period. Ogiński's Polonaise "Farewell to the Homeland" shares a common idiom with Chopin's polonaises. Furthermore, Elsner's works reflect nationalism against Russian rule.
J.N. Hummel is a composer who is particularly noteworthy for forming the foundation of Chopin's style. Having studied with the late Mozart and subsequently with Haydn and Salieri, Hummel's idiom is undoubtedly one of the sources of Chopin's style. Hummel inherited from Mozart the rich ornamental expression in slow movements. The expression of brilliantly varying a melody with dazzling passages was passed on to Chopin. Hummel's Piano Concerto in A minor (Op. 85), composed around 1816, foreshadows Chopin's later compositions.
When Chopin composed his Etudes (Op. 10), he is thought to have conceived the idea of covering all major and minor keys, an idea that later culminated in the Preludes. The idea of using all major and minor keys was also attempted by Hummel. Hummel's 24 Etudes (Op. 125), published in 1833 after Chopin's aforementioned etude collections, is an etude collection using all major and minor keys.
Another composer who influenced Chopin during his Warsaw period was the Irish-born John Field. It is certain that Field's nocturnes, which he pioneered while active in St. Petersburg, were also widespread in Warsaw, and Chopin's early nocturnes clearly show Field's influence. The influence is particularly clear in the three pieces of Op. 9; in subsequent nocturnes, Chopin developed his unique style.
Chopin's influence from Field was not limited to nocturnes. Field composed a total of seven piano concertos, but in addition to concertos with orchestral accompaniment, he also arranged chamber music versions including piano, and solo piano versions. Some of Field's nocturnes are arrangements of slow movements from piano concertos. The practice of performing piano concertos in chamber music versions including piano had been done since Mozart's time, but Field's writing became a model for composition in the 19th century. Because these arrangements were presupposed, the orchestration of the piano concertos uses a very sparse texture in the solo piano sections. Chopin also adopted this writing style. Furthermore, Chopin's two piano concertos were also performed in chamber music versions including piano. Chopin's Allegro de Concert (Op. 46) was published as a solo piano piece, but it was originally the first movement of a piano concerto and can also be interpreted as a solo piano version of a piano concerto.
Chopin is, in a different way than his contemporaries Schumann, Mendelssohn, and Liszt, embracing 19th-century historicism. Mendelssohn composed Preludes and Fugues, and Schumann and Liszt adopted Bach's writing style in works for pedal piano and organ. In contrast, Chopin brought the spirit of Bach's Well-Tempered Clavier to 19th-century music by composing his Preludes using all major and minor keys. Chopin studied counterpoint and fugue as composition subjects during his time at the Warsaw Conservatory, and traces of this are evident in his Piano Sonata No. 1. He began to apply this counterpoint to his own compositions from the 1840s onwards. In particular, the Mazurka (Op. 56-3) is written using complex contrapuntal writing, reflecting 19th-century historicism.
Chopin composed three piano sonatas. Schumann wrote a critique when Chopin composed his Piano Sonata No. 2. While his critique was not ironically positive, he did not hide his surprise that Chopin dared to compose a piano sonata in that era. As the sonata and sonata form became symbols of compositional education and erudition, no longer a place for composers to express creativity, Chopin's Sonatas, especially Nos. 2 and 3, hold groundbreaking value in the history of the piano sonata. The principles of sonata form served as the foundation not only for his three piano sonatas and cello sonata but also for the composition of his scherzos and ballades. While these are often discussed as being in ternary form, it is more accurate to consider sonata form as their underlying basis.
Works(175)
Concerto (5)
concerto (2)
Concerto pour piano et orchestre no.1 Op.11
Key: e-moll Composed in: 1830 Playing time: 43 min 30 sec
Concerto pour piano et orchestre no.2 Op.21
Key: f-moll Composed in: 1829 Playing time: 32 min 00 sec
rondo (1)
"Krakowiak", grand rondeau de concert Op.14
Key: F-Dur Composed in: 1828 Playing time: 16 min 23 sec
fantasy (1)
Fantaisie sur des airs nationaux polonais Op.13
Key: A-Dur Composed in: 1829 Playing time: 15 min 51 sec
variation (1)
Variations sur "La ci darem la mano" du "Don Juan" Op.2
Key: B-Dur Composed in: 1827 Playing time: 22 min 30 sec
polonaise (1)
Grande polonaise brillante précédée d'un andante spianato Op.22
Key: Es-Dur Composed in: 1830 Playing time: 14 min 26 sec
Piano Solo (23)
sonata (3)
rondo (4)
ballade (4)
scherzo (4)
etude (3)
prelude (3)
inpromptu (4)
variation (3)
Key: B-Dur Composed in: 1830 Playing time: 8 min 00 sec
Variations sur air national allemand "steh' auf, steh' auf, o du Schweizer" KK.IVa/4
Key: E-Dur Composed in: 1824 Playing time: 8 min 30 sec
polonaise (17)
mazurka (58)
Mazurka "à Émile Gaillard" Dbop.42A KK.IIb/5
Key: a-moll Composed in: 1840 Playing time: 6 min 30 sec
waltz (20)
nocturne (21)
Nocturne (lento con gran espressione) KK.IVa/16
Key: cis-moll Composed in: 1830 Playing time: 4 min 00 sec
character pieces (8)
Piano Ensemble (2)
rondo (1)
Rondo (pour deux pianos) (œuvre posthume) Op.73
Key: C-Dur Composed in: 1828 Playing time: 9 min 00 sec
variation (1)
Variations [über ein Arie von Thomas Moore] KK.IVa/6
Key: D-Dur Composed in: 1826 Playing time: 8 min 30 sec
Chamber Music (4)
sonata (1)
variation (1)
Variations pour flûte et piano sur l'air de "Cendrillon" de Rossini
Key: E-Dur Composed in: 1824 Playing time: 5 min 00 sec
polonaise (1)
Various works (2)
Trio pour piano, violon et violoncelle Op.8
Key: g-moll Composed in: 1828 Playing time: 29 min 00 sec
Grand duo concertant sur des thèmes de "Robert le diable" CT10
Key: E-Dur Composed in: 1831 Playing time: 13 min 00 sec