COMPLETE WORKS OF FRÉDÉRIC CHOPIN

Op. 1 – Rondo in C minor, for piano
Op. 2 – Variations on “Là ci darem la mano” (Mozart), for piano and orchestra
Op. 3 – Introduction and Polonaise brillante in C major, for cello and piano
Op. 4 – Piano Sonata No. 1 in C minor
Op. 5 – Rondo à la mazur in F major, for piano
Op. 6 – Mazurkas (4), for piano
Op. 7 – Mazurkas (5), for piano
Op. 8 – Piano Trio in G minor, for piano, violin, and cello
Op. 9 – Nocturnes (3), for piano
Op. 10 – Études (12), for piano
Op. 11 – Piano Concerto No. 1 in E minor
Op. 12 – Brilliant Variations on a theme by Herold, for piano
Op. 13 – Grand Polonaise brillante in E-flat major, for piano and orchestra
Op. 14 – Rondo à la Krakowiak in F major, for piano and orchestra
Op. 15 – Nocturnes (3), for piano
Op. 16 – Rondo in E-flat major, for piano
Op. 17 – Mazurkas (4), for piano
Op. 18 – Grande valse brillante in E-flat major, for piano
Op. 19 – Bolero in A minor, for piano
Op. 20 – Scherzo No. 1 in B minor, for piano
Op. 21 – Piano Concerto No. 2 in F minor
Op. 22 – Andante spianato and Grande Polonaise brillante in E-flat major, for piano and orchestra
Op. 23 – Ballade No. 1 in G minor, for piano
Op. 24 – Mazurkas (4), for piano
Op. 25 – Études (12), for piano
Op. 26 – Polonaises (2), for piano
Op. 27 – Nocturnes (2), for piano
Op. 28 – Preludes (24), for piano
Op. 29 – Impromptu No. 1 in A-flat major, for piano
Op. 30 – Mazurkas (4), for piano
Op. 31 – Scherzo No. 2 in B-flat minor, for piano
Op. 32 – Nocturnes (2), for piano
Op. 33 – Mazurkas (4), for piano
Op. 34 – Waltzes (3), for piano
Op. 35 – Piano Sonata No. 2 in B-flat minor
Op. 36 – Impromptu No. 2 in F-sharp major, for piano
Op. 37 – Nocturnes (2), for piano
Op. 38 – Ballade No. 2 in F major, for piano
Op. 39 – Scherzo No. 3 in C-sharp minor, for piano
Op. 40 – Polonaises (2), for piano
Op. 41 – Mazurkas (4), for piano
Op. 42 – Waltz in A-flat major, for piano
Op. 43 – Tarantella in A-flat major, for piano
Op. 44 – Polonaise in F-sharp minor, for piano
Op. 45 – Prelude in C-sharp minor, for piano
Op. 46 – Concert Allegro in A major, for piano
Op. 47 – Ballade No. 3 in A-flat major, for piano
Op. 48 – Nocturnes (2), for piano
Op. 49 – Fantasy in F minor, for piano
Op. 50 – Mazurkas (3), for piano
Op. 51 – Impromptu No. 3 in G-flat major, for piano
Op. 52 – Ballade No. 4 in F minor, for piano
Op. 53 – Polonaise in A-flat major “Heroic,” for piano
Op. 54 – Scherzo No. 4 in E major, for piano
Op. 55 – Nocturnes (2), for piano
Op. 56 – Mazurkas (3), for piano
Op. 57 – Berceuse in D-flat major, for piano
Op. 58 – Piano Sonata No. 3 in B minor
Op. 59 – Mazurkas (3), for piano
Op. 60 – Barcarolle in F-sharp major, for piano
Op. 61 – Polonaise-Fantaisie in A-flat major, for piano
Op. 62 – Nocturnes (2), for piano
Op. 63 – Mazurkas (3), for piano
Op. 64 – Waltzes (3), for piano
Op. 65 – Sonata in G minor, for cello and piano

Works Published Posthumously

Op. 66 – Fantaisie-Impromptu in C-sharp minor, for piano
Op. 67 – Mazurkas (4), for piano
Op. 68 – Mazurkas (4), for piano
Op. 69 – Waltzes (2), for piano
Op. 70 – Waltzes (3), for piano
Op. 71 – Nocturnes (3), for piano
Op. 72 – Miscellaneous works for piano
Op. 73 – Rondo in C major, for two pianos
Op. 74 – Polish Songs (17–19), for voice and piano

1. Polonaises (1817–1846)

The polonaises were the first genre cultivated by Chopin and accompanied him throughout his entire creative life.

• Historical origin: an aristocratic Polish dance documented since the late 15th century, associated with official ceremonies and national symbols.
• Creative beginnings: Chopin wrote youthful polonaises from 1817, during his adolescence in Warsaw.
• Evolution: from simple dance forms to monumental, heroic structures of great pianistic density.

Representative polonaises: Op. 26, Op. 40, Op. 44, Op. 53, Op. 61.
The Polonaise Op. 53 (1842) is an emblem of European Romantic nationalism.

2. Mazurkas (1825–1849)

The mazurkas form the most extensive and experimental core of Chopin’s output.

• Origin: Polish rural dances transformed into urban artistic language.
• Quantity: approximately 60–61 mazurkas.
• Function: a highly sophisticated harmonic and rhythmic laboratory.

Late mazurkas are essential for the study of rubato and musical microform.

3. Waltzes (1829–1847)

Chopin’s waltzes emerged in Parisian high-bourgeois salons.

• Transformation from functional dance music to autonomous art form.
• Alternation between public brilliance and poetic introspection.

The Waltz Op. 64 No. 1 belongs to Chopin’s final editorial years.

4. Nocturnes (1827–1846)

Inspired by John Field, Chopin established the definitive model of the Romantic nocturne.

• Cantabile melody
• Rich harmony
• Intense expressivity

The Nocturne Op. 48 No. 1 stands out for its dramatic choral writing.

5. Études (1829–1837)

The études redefined the relationship between technique and musical art.

• Original function: technical refinement.
• Result: works of high artistic and expressive value.

The Étude Op. 10 No. 12 is traditionally linked to the emotional context of exile after the Polish uprising.

6. Preludes (1831–1839)

The preludes represent the culmination of the Romantic miniature form.

• 24 Preludes Op. 28, one in each major and minor key.
• Composed partly during Chopin’s stay in Mallorca.

In addition, Chopin wrote two complete independent preludes:

• Prelude in C-sharp minor, Op. 45 (published during his lifetime).
• Prelude in A-flat major, B.86 (published posthumously).

➡️ Total: 26 complete preludes.

7. Ballades (1831–1842)

The ballades introduce a large-scale narrative instrumental form.

• Four ballades, published between 1835 and 1842.
• The Ballade Op. 52 is considered a summit of pianistic Romanticism.

8. Scherzos (1831–1843)

The scherzos transform the Classical model into autonomous pianistic drama.

• Extreme contrasts
• High harmonic density
• Exceptional technical demands.

9. Piano Sonatas (1828–1844)

Chopin composed three complete piano sonatas.

• Op. 4 – formative stage
• Op. 35 – includes the Funeral March
• Op. 58 – mature synthesis

The Funeral March became a universal cultural symbol.

10. Piano Concertos (1829–1830)

• Piano Concerto No. 1 Op. 11
• Piano Concerto No. 2 Op. 21

Written before definitive exile, with absolute pianistic dominance.

11. Concertante and Chamber Works (1828–1846)

An exceptional repertoire including:

• Piano Trio Op. 8
• Andante spianato and Grand Polonaise Op. 22
• Cello Sonata Op. 65 (1846)

12. Impromptus and Fantasies (1834–1846)

Works of carefully controlled formal freedom:

• Impromptus Op. 29, 36, and 51
• Fantasy Op. 49
• Fantaisie-Impromptu Op. 66

13. Rondos and Variations (1825–1833)

• Rondos Op. 1, 5, and 16
• Variations Op. 2

In 1831, Robert Schumann publicly praised the Variations Op. 2, propelling Chopin’s international fame.

14. Polish Songs (1827–1847)

• Op. 74: 17–19 songs
• Published posthumously in 1857, edited by Julian Fontana
• Language: Polish

These songs establish a direct link between national poetry and musical lyricism.