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- Most of Chopin's compositions were for solo piano, although he did compose two piano concertos (his concertos No. 1 and No. 2 are two of the romantic piano concerto repertoire's most often-performed pieces) as well as some other music for ensembles. His larger scale works such as sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, and the Barcarole in F♯ major, Op. 60 have cemented a solid place within the repertoire, as well as shorter works like his polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes taking a substantial portion of recorded and performed music. Two important collections are the Études, Op. 10 and 25 (which are a staple of that genre for pianists), and the 24 Preludes, Op. 28 (a cycle of short pieces paired in a major key/relative minor key pattern following the circle of fifths in clockwise steps). In addition, he wrote numerous song settings of Polish texts, and chamber pieces including a piano trio and a cello sonata. This listing uses the traditional opus numbers where they apply; other works are identified by numbers from the catalogues of Maurice J. E. Brown (B), Krystyna Kobylańska (KK), and Józef Michał Chomiński (A, C, D, E, P, S). The last opus number Chopin used was 65, that allocated to the Cello Sonata in G minor. He expressed a death-bed wish that all his unpublished manuscripts be destroyed. This included the early Piano Sonata No. 1; Chopin had assigned the Opus number 4 to it in 1828, and had even dedicated it to his teacher Elsner, but chose not to publish it. In 1851, Tobias Haslinger published it as Op. 4. Then, at the request of the composer's mother and sisters, Julian Fontana selected 23 other unpublished piano pieces and grouped them into eight opus numbers (Op. 66–73). These works were published in 1855. In 1857, the known 17 Polish songs that had been written at various stages throughout Chopin's life were collected and published as Op. 74, the order of the songs within that opus having little regard for their actual order of composition. Other songs have since come to light, but they are not part of Op. 74. Works that were published or have come to light since 1857 were not given opus numbers, and alternate catalogue designations are used for them. (en)
- Jego dorobek kompozytorski to m.in.:liczby w nawiasach oznaczają utwory opublikowane przez Chopina; pierwsza liczba oznacza utwory opusowane, druga - wydane poza systemem opusowym)
* 57 (41+2) mazurków
* 16 (7) polonezów
* 19 (8) walców
* 19 (18) nokturnów
* 4 ballady
* 4 scherza
* 3 sonaty fortepianowe i jedna na wiolonczelę i fortepian
* 26 (25) preludiów
* 27 (24+3) etiud
* 4 (3) impromptus
* 2 koncerty fortepianowe
* 4 inne utwory na fortepian z orkiestrą
* 17 + 2 pieśni
* 2 utwory na wiolonczelę i fortepian (oprócz Sonaty wiolonczelowej), trio fortepianowe
* inne utwory fortepianowe (ronda, wariacje, marsze), kilka utworów na 4 ręce
* utwory pojedyncze: Fantazja, Barkarola, Berceuse, Tarantella, Bolero (pl)
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- Jego dorobek kompozytorski to m.in.:liczby w nawiasach oznaczają utwory opublikowane przez Chopina; pierwsza liczba oznacza utwory opusowane, druga - wydane poza systemem opusowym)
* 57 (41+2) mazurków
* 16 (7) polonezów
* 19 (8) walców
* 19 (18) nokturnów
* 4 ballady
* 4 scherza
* 3 sonaty fortepianowe i jedna na wiolonczelę i fortepian
* 26 (25) preludiów
* 27 (24+3) etiud
* 4 (3) impromptus
* 2 koncerty fortepianowe
* 4 inne utwory na fortepian z orkiestrą
* 17 + 2 pieśni
* 2 utwory na wiolonczelę i fortepian (oprócz Sonaty wiolonczelowej), trio fortepianowe
* inne utwory fortepianowe (ronda, wariacje, marsze), kilka utworów na 4 ręce
* utwory pojedyncze: Fantazja, Barkarola, Berceuse, Tarantella, Bolero (pl)
- Most of Chopin's compositions were for solo piano, although he did compose two piano concertos (his concertos No. 1 and No. 2 are two of the romantic piano concerto repertoire's most often-performed pieces) as well as some other music for ensembles. His larger scale works such as sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, and the Barcarole in F♯ major, Op. 60 have cemented a solid place within the repertoire, as well as shorter works like his polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes taking a substantial portion of recorded and performed music. Two important collections are the Études, Op. 10 and 25 (which are a staple of that genre for pianists), and the 24 Preludes, Op. 28 (a cycle of short pieces paired in a major key/relative (en)
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