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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 Könneritz

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 coulées sur le piano'. Madame Dubois who related this incident to me, added that the expression was felicitous, for this 'limpidité dédicate' 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

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