The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Ballade No. 1 in G minor, Op. 23 is a ballade for solo piano by Frédéric Chopin. Completed in 1835, it is one of Chopin's greatest and most popular works. A typical performance lasts nine to ten minutes.

The Ballade No. 2 in F major, Op. 38 is a ballade for solo piano by Frédéric Chopin, completed in 1839. A typical performance lasts six to eight minutes.

The Ballade No. 3 in A♭ major, Op. 47, is the third of Chopin's ballades for solo piano. It was composed in 1841 and published the same year. It is the only ballade by Chopin that does not end in a minor key.

The Ballade No. 4 in F minor, Op. 52 is a ballade for solo piano by Frédéric Chopin, completed in 1842 in Paris and published in 1843 with a dedication to Baroness Charlotte de Rothschild. Being his last published ballade, the piece is commonly considered one of the masterpieces of piano music. Of the four ballades, it is considered by many pianists to be the most difficult, both technically and musically. It is also the longest, taking around ten to twelve minutes to perform. According to John Ogdon, it is "the most exalted, intense and sublimely powerful of all Chopin's compositions... It is unbelievable that it lasts only twelve minutes, for it contains the experience of a lifetime."

The Barcarolle in F-sharp major, Op. 60, is a piece for solo piano by Frédéric Chopin, composed between autumn of 1845 and summer 1846, three years before his death. Based on the barcarolle rhythm and mood, it features a sweepingly romantic and slightly wistful tone. Many of the technical figures for the right hand are thirds and sixths, while the left features very long reaches over an octave. Its middle section is in A major, and this section's second theme is recapitulated near the piece's end in F-sharp. It is also one of the pieces where Chopin's affinity with the bel canto operatic style is most apparent, as the double notes in the right hand along with spare arpeggiated accompaniment in the left hand explicitly imitate the style of the great arias and scenas from the bel canto operatic repertoire. The writing for the right hand becomes increasingly florid as multiple lines spin filigree and ornamentation around each other. This is one of Chopin's last major compositions, along with his Polonaise-Fantasie, Op. 61. It is often considered to be one of his more demanding compositions, both in execution and interpretation, and recordings exist by virtually all the greatest pianists. Performance times average seven to nine minutes.

Frédéric Chopin's "Berceuse", Op. 57, is a lullaby to be played on the piano. He composed it in 1843/44 as variations in D-flat major. Chopin originally called his work "Variantes". "Berceuse" was first published in Paris in 1844 by Jean-Racine Meissonnier, dedicated to Chopin's pupil Élise Gavard, and appeared in London and Leipzig the following year. Written late in his career, the lyrical piece features complex figurations in the continuous flow of variations on a calm bass in always soft dynamics, shaping the music by texture and sonority.

The Boléro, Op. 19, is a short piano work written by Frédéric Chopin in 1833 and published in 1834. It is one of his lesser-known piano pieces, although it has been recorded numerous times.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

Étude Op. 10, No. 3, in E major, is a study for solo piano composed by Frédéric Chopin in 1832. It was first published in 1833 as the third piece of his Études Op. 10. This is a slow cantabile study for polyphonic and expressive legato playing. In fact, Chopin himself believed the melody of the piece to be the most beautiful one he ever composed. It became famous through numerous popular arrangements. Although this étude is sometimes identified by the names "Tristesse" (Sadness) or "Farewell (L'Adieu)", neither is a name given by Chopin, but rather his critics.

Étude Op. 25, No. 11 in A minor, often referred to as Winter Wind in English, is a solo piano technical etude composed by Frédéric Chopin in 1836. It was first published together with all études of Opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time signature, but the manuscript and the first German edition both feature cut time. The first four bars that characterize the melody were added just before publication at the advice of Charles A. Hoffmann, a friend. Winter Wind is considered one of the most difficult of Chopin's 24 études.

Frédéric Chopin's Fantaisie-Impromptu (Polish: Fantazja-Impromptu) in C♯ minor, Op. posth. 66, WN 46 is a solo piano composition. It was composed in 1834 and published posthumously in 1855 despite Chopin's instruction that none of his unpublished manuscripts be published. The Fantaisie-Impromptu is one of Chopin's most frequently performed and popular compositions.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

Frédéric Chopin's Impromptu No. 1 in A♭ major, Op. 29, was composed in 1837.

Frédéric Chopin's Impromptu No. 2 in F♯ major, Op. 36, was composed in 1839 and published in the following year.

Frédéric Chopin's Impromptu No. 3 in G♭ major, Op. 51, for piano, was composed in 1842 and published in February 1843. It was the last in order of composition of his four impromptus, but the third published. The piece is written in 128 time.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

B-flat major is a major scale based on B♭, with pitches B♭, C, D, E♭, F, G, and A. Its key signature has two flats. Its relative minor is G minor and its parallel minor is B-flat minor. The B-flat major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B-flat harmonic major and melodic major scales are: Many transposing instruments are pitched in B-flat major, including the clarinet, trumpet, tenor saxophone, and soprano saxophone. As a result, B-flat major is one of the most popular keys for concert band compositions.

There are at least eight mazurkas by Chopin without opus number, usually designated as Op. posth., though at least four of these were published in his lifetime. 2 mazurkas in B♭ major and G major were composed and published in 1826 in revised versions; the originals were published in 1875. B. 16 D major, B. 31 (1829); revised version, B. 71 (1832) B♭ major (Wolowska), B. 73 (1832) – dedicated to Alexandrine Wolowska C major, B. 82 (1833) A♭ major, B. 85 (1834) A minor (Notre Temps), B.134 (1840) – published (1841) in the collection "Six morceaux de salon", issued by the magazine Notre Temps along with works by Thalberg, Czerny and others. A minor (À Émile Gaillard), B.140 (1840) – published (1841) in "Album de pianistes polonais". Dedicated to Émile Gaillard.

There are at least eight mazurkas by Chopin without opus number, usually designated as Op. posth., though at least four of these were published in his lifetime. 2 mazurkas in B♭ major and G major were composed and published in 1826 in revised versions; the originals were published in 1875. B. 16 D major, B. 31 (1829); revised version, B. 71 (1832) B♭ major (Wolowska), B. 73 (1832) – dedicated to Alexandrine Wolowska C major, B. 82 (1833) A♭ major, B. 85 (1834) A minor (Notre Temps), B.134 (1840) – published (1841) in the collection "Six morceaux de salon", issued by the magazine Notre Temps along with works by Thalberg, Czerny and others. A minor (À Émile Gaillard), B.140 (1840) – published (1841) in "Album de pianistes polonais". Dedicated to Émile Gaillard.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

G major is a major scale based on G, with the pitches G, A, B, C, D, E, and F♯. Its key signature has one sharp. Its relative minor is E minor and its parallel minor is G minor. The G major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The G harmonic major and melodic major scales are:

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

Mazurkas, Op. 33, are a set of four mazurkas for piano by Frédéric Chopin, composed and published in 1838. The pieces were dedicated to Countess Róża Mostowska. The autograph manuscript of the mazurkas is preserved in the National Library of Poland.

Mazurkas, Op. 17 is a set of four mazurkas for solo piano by Frédéric Chopin, composed in 1832–1833 and published in 1834. The set was dedicated to Lina Freppa.

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

Mazurkas, Op. 33, are a set of four mazurkas for piano by Frédéric Chopin, composed and published in 1838. The pieces were dedicated to Countess Róża Mostowska. The autograph manuscript of the mazurkas is preserved in the National Library of Poland.

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

The Mazurkas, Op. 6 are Frédéric Chopin's first set of mazurkas published during his lifetime. They were composed in 1830–1831 and were published in 1832. The set was dedicated to Countess Pauline Plater.

Mazurkas, Op. 33, are a set of four mazurkas for piano by Frédéric Chopin, composed and published in 1838. The pieces were dedicated to Countess Róża Mostowska. The autograph manuscript of the mazurkas is preserved in the National Library of Poland.

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

Over the years 1825–1849, Frédéric Chopin wrote at least 59 compositions for piano called Mazurkas. Mazurka refers to one of the traditional Polish dances. 58 have been published 45 during Chopin's lifetime, of which 41 have opus numbers (with the remaining four works being two early mazurkas from 1826 and the famous "Notre Temps" and "Émile Gaillard" mazurkas that were published individually in 1841) 13 posthumously, of which 8 have posthumous opus numbers (specifically, Opp. 67 & 68) 11 further mazurkas are known whose manuscripts are either in private hands (2) or untraced (at least 9). The serial numbering of the 58 published mazurkas normally goes only up to 51. The remaining 7 are referred to by their key or catalogue number. Chopin's composition of these mazurkas signaled new ideas of nationalism.

The Mazurkas, Op. 7 are a set of five mazurkas by Frédéric Chopin. The mazurkas were mostly written in 1830–1831 and were published in 1832 by Maurice Schlesinger. This is the only set of Chopin's mazurkas that contains five pieces; all the composer's other published sets consist of either three or four mazurkas each. It is dedicated to Paul Emile Johns, a German–American pianist from New Orleans who met Chopin in 1832 in Paris.

Album leaf is the title of numerous minor compositions by a wide variety of classical composers. It also appears in the French version, Feuille d'album or Feuillet d'album; the German version Albumblatt (pl. Albumblätter); the Russian version Листок из альбома (pl. Листки из альбома); the Spanish and Latin-American versions Hoja de álbum; and other languages. Many of these pieces are for piano solo, but the title has also been used for other instrumental pieces in the salon music genre, and for vocal pieces. They tend to be short, pleasant, and not particularly demanding on the performer. There is no standard form or structure; the title Album leaf is quite arbitrary, and these pieces could just as easily have been called Prelude, Impromptu, Romance, Humoresque or other names. Originally, the term "Album leaf" was used for pieces written in dedication to a friend or admirer, to be inserted into their album or autograph book, and not intended for publication. It later lost any association with a particular dedicatee.

Frédéric Chopin's Waltz in A minor, B. 150, WN 63, KK IVb/11, P. 2/11, is a waltz for solo piano. The waltz was published in 1860, after the composer's death, by Jacques Maho. At this time, it was attributed to Charlotte de Rothschild and was published as no. 3 of "Four pieces for piano". This collection also included Chopin's Nocturne in C minor, B. 108. In The Musical Quarterly, January 1939, Jacques-Gabriel Prod'homme first reported the waltz. In 1955, this piece was published in the special edition of the magazine La Revue Musicale and finally reattributed to Chopin. In 1965, it was republished by Andrzej Koszewski. There is disagreement over the date of composition: Chopin National Edition gives 1847–49, Maurice J. E. Brown gives 1843, and Gastone Belotti gives 1832–33 (specifically early 1833). Prod'homme referred to the waltz as a "youthful" work. Koszewski expressed that the waltz belonged to the Warsaw period of the composer, though also saying that it could date from a later period.

Marian Filar (December 17, 1917 – July 10, 2012) was a Polish concert pianist and virtuoso composer living in the United States.

The Nocturne in E minor, Op. posth. 72 No. 1, WN 23, was composed by Frédéric Chopin for solo piano in 1826. It was Chopin's first composed nocturne, although it was the nineteenth to be published, in 1855, along with two other early works: a funeral march in C minor and three écossaises. The composition features an unbroken line of quaver triplets in the left hand set against a slow melody of minims, crotchets, quaver duplets and triplets. It consists of 57 bars of common time with the tempo given as Andante, = 69 bpm.

The Nocturnes, Op. 15 are a set of three nocturnes for solo piano written by Frédéric Chopin between 1830 and 1833. The work was published in January 1834, and was dedicated to Ferdinand Hiller. These nocturnes display a more personal approach to the nocturne form than that of the earlier Opus 9. The melodies and emotional depth of these nocturnes have thus been thought of as more "Chopinesque."

The Nocturnes, Op. 27 are a set of two nocturnes for solo piano composed by Frédéric Chopin. The pieces were composed in 1836 and published in 1837. Both nocturnes in this opus are dedicated to Countess d'Appony. This publication marked the transition from triplets of nocturnes to contrasting pairs. Whereas the Nocturnes, Op. 9 and Op. 15 included three nocturnes each, the remainder of Chopin's nocturnes published during his lifetime were in sets of two. David Dubal feels that the pieces are "more aptly described as ballades in miniature". Blair Johnson states that these two nocturnes are "two of the most powerful—and famous—nocturnes [Chopin] has ever penned" and that these nocturnes are "virtually unrecognizable" to the nocturne tradition of John Field.

The Nocturnes, Op. 55 are a set of two nocturnes for solo piano written by Frédéric Chopin. They are his fifteenth and sixteenth installations in the genre, and were composed between 1842 and 1844, and published in August 1844. Chopin dedicated them to his pupil and admirer Mademoiselle Jane Stirling.

The Nocturnes, Op. 37 are a set of two nocturnes for solo piano written by Frédéric Chopin in 1839 during the time of his stay with author George Sand in Majorca and published in 1840. Unusually, neither piece carries a dedication. This set of nocturnes was originally considered to be one of the better sets, yet its popularity slowly decreased in the twentieth century. Blair Johnson maintains, however, that the pieces are still "wonderful specimens, being something of a hybrid between the more dramatic Opus 27 and the far simpler textures and moods of Opus 32." Robert Schumann commented that they were "of that nobler kind under which poetic ideality gleams more transparently." Schumann also said that the "two nocturnes differ from his earlier ones chiefly through greater simplicity of decoration and more quiet grace." Gustav Barth commented that Chopin's nocturnes are definite signs of "progress" in comparison to John Field's original nocturnes, though the improvements are "for the most part only in technique." However, David Dubal feels that the pieces are "more aptly described as ballades in miniature."

The Nocturnes, Op. 48 are a set of two nocturnes for solo piano written by Frédéric Chopin in 1841 and published the following year in 1842. They are dedicated to Mlle. Laure Duperré. Chopin later sold the copyright for the nocturnes for 2,000 francs along with several other pieces.

The Nocturnes, Op. 55 are a set of two nocturnes for solo piano written by Frédéric Chopin. They are his fifteenth and sixteenth installations in the genre, and were composed between 1842 and 1844, and published in August 1844. Chopin dedicated them to his pupil and admirer Mademoiselle Jane Stirling.

Written between 1845 and 1846, Nocturnes Op. 62 are a set of two nocturnes for solo piano by Frédéric Chopin. They were published in 1846 and are dedicated to Mademoiselle R[osa] de Konneritz (daughter of Hans Heinrich von Könneritz, the ambassador of Saxony in Paris). These were Chopin's final compositions in the genre, although they were not the last to be published.

The Nocturnes, Op. 9 are a set of three nocturnes for solo piano written by Frédéric Chopin between 1831 and 1832, published in 1832, and dedicated to Madame Marie Pleyel. These were Chopin's first published set of nocturnes. The second nocturne of the work is often regarded as Chopin's most famous piece.

The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are 27 études overall, comprising two separate collections of 12, numbered Op. 10 and Op. 25, and a set of three without opus numbers.

B-flat major is a major scale based on B♭, with pitches B♭, C, D, E♭, F, G, and A. Its key signature has two flats. Its relative minor is G minor and its parallel minor is B-flat minor. The B-flat major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B-flat harmonic major and melodic major scales are: Many transposing instruments are pitched in B-flat major, including the clarinet, trumpet, tenor saxophone, and soprano saxophone. As a result, B-flat major is one of the most popular keys for concert band compositions.

B-flat major is a major scale based on B♭, with pitches B♭, C, D, E♭, F, G, and A. Its key signature has two flats. Its relative minor is G minor and its parallel minor is B-flat minor. The B-flat major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The B-flat harmonic major and melodic major scales are: Many transposing instruments are pitched in B-flat major, including the clarinet, trumpet, tenor saxophone, and soprano saxophone. As a result, B-flat major is one of the most popular keys for concert band compositions.

The Polonaises Op. posth[umous] include Frédéric Chopin's polonaises that were not given opus numbers. This page does not consider the three posthumous polonaises Op. 71, which Chopin's assistant Julian Fontana published with the family approval. On the other hand, it includes the early G minor polonaise (KK IIa No. 1) that was published in Chopin's youth without opus number.

F-sharp minor is a minor scale based on F♯, consisting of the pitches F♯, G♯, A, B, C♯, D, and E. Its key signature has three sharps. Its relative major is A major and its parallel major is F-sharp major (or enharmonically G-flat major). The F-sharp natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The F-sharp harmonic minor and melodic minor scales are:

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

C-sharp minor is a minor scale based on C♯, with the pitches C♯, D♯, E, F♯, G♯, A, and B. Its key signature consists of four sharps. The C-sharp natural minor scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The C-sharp harmonic minor and melodic minor scales are: Its relative major is E major. Its parallel major, C-sharp major, is usually written instead as the enharmonic key of D-flat major, since C-sharp major’s key signature with seven sharps is not normally used. Its enharmonic equivalent, D-flat minor, having eight flats including the B, has a similar problem. Therefore, C-sharp minor is often used as the parallel minor for D-flat major. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor, and in some cases, with the keys of G-flat major and F-sharp minor, and with the keys of E-flat major and D-sharp minor.)

The Polonaise in A♭ major, Op. 53 (French: Polonaise héroïque, Heroic Polonaise; Polish: Heroiczny) is a solo piano piece composed by Frédéric Chopin in 1842 The piece was published in 1843, and is one of Chopin's most admired compositions and has long been a favorite of the romantic piano repertoire. Pianist Arthur Rubinstein once called it "the composition which is the closest to my heart." The piece requires exceptional piano skills and great virtuosity to be interpreted at a high degree of proficiency. It is also very physically demanding, and according to his student Adolphe Gutmann, Chopin played it more gently than most performers. The polonaise was dedicated to Auguste Léo, a German banker and friend of Chopin. The autograph manuscript of the work is preserved in the Morgan Library & Museum.

The Polonaise-Fantaisie in A-flat major, Op. 61, is a composition for piano by Frédéric Chopin. It was dedicated to Mme A. Veyret, written and published in 1846. This work was slow to gain favour with musicians, due to its harmonic complexity and intricate form. Arthur Hedley was one of the first critics to speak positively of the work, writing in 1947 that it "works on the hearer's imagination with a power of suggestion equaled only by the F minor Fantasy or the fourth Ballade", although Sviatoslav Richter, Arthur Rubinstein, Leff Pouishnoff, Claudio Arrau and Vladimir Horowitz included it in their programs decades earlier. It is intimately indebted to the polonaise for its metre, much of its rhythm, and some of its melodic character, but the fantaisie is the operative formal paradigm, and Chopin is said to have referred initially to the piece only as a Fantasy. Parallels with the Fantaisie in F minor include the work's overall tonality, A-flat, the key of its slower middle section, B major, and the motive of the descending fourth. Jeffrey Kallberg has suggested that the Polonaise-Fantaisie represents a change in Chopin's style from 'late' to 'last'. It is suggested that the formal ambiguities of the piece (particularly the unconventional and musically misleading transitions into and out of the lyrical inner section) are the most significant defining qualities of this 'last style', which only includes this and one other piece—the F minor Mazurka (Op. 68, No. 4), Chopin's last composition. The piece plays a central role in Sandor Marai's novel Embers.

The Polonaises Op. posth[umous] include Frédéric Chopin's polonaises that were not given opus numbers. This page does not consider the three posthumous polonaises Op. 71, which Chopin's assistant Julian Fontana published with the family approval. On the other hand, it includes the early G minor polonaise (KK IIa No. 1) that was published in Chopin's youth without opus number.

The twin Op. 40 Polonaises of the Polonaise in A major, Op. 40, No. 1 (nicknamed the Military Polonaise) and the Polonaise in C minor, Op. 40, No. 2 were composed by Frédéric Chopin in 1838. The one in A major he originally intended to dedicate to Tytus Woyciechowski, but in the end Chopin placed Julian Fontana’s name as the dedicatee on both works. Arthur Rubinstein remarked that the Polonaise in A major is the symbol of Polish glory, whilst the Polonaise in C minor is the symbol of Polish tragedy.

The Polonaises Op. posth[umous] include Frédéric Chopin's polonaises that were not given opus numbers. This page does not consider the three posthumous polonaises Op. 71, which Chopin's assistant Julian Fontana published with the family approval. On the other hand, it includes the early G minor polonaise (KK IIa No. 1) that was published in Chopin's youth without opus number.

Frédéric Chopin wrote a number of preludes for piano solo. His collection of 24 Preludes, Op. 28, covers all major and minor keys. In addition, Chopin wrote three other preludes: a prelude in C♯ minor, Op. 45; a piece in A♭ major from 1834; and an unfinished piece in E♭ minor. These are sometimes referred to as Nos. 25, 26, and 27, respectively.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Frédéric Chopin wrote a number of preludes for piano solo. His collection of 24 Preludes, Op. 28, covers all major and minor keys. In addition, Chopin wrote three other preludes: a prelude in C♯ minor, Op. 45; a piece in A♭ major from 1834; and an unfinished piece in E♭ minor. These are sometimes referred to as Nos. 25, 26, and 27, respectively.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

The Rondo in C minor, Op. 1, for solo piano is Chopin's first published work, published in 1825, and dedicated to "Madame de Linde", the wife of the headmaster of the Lyceum at which Chopin was studying. The piece contains an "unorthodox (but entirely logical) tonal scheme". The first phase begins in C minor, moving into E major, A♭ major, then back to C minor. The second phase moves to D♭ major, finishing in C minor for a final statement of the theme. Chopin premiered the work at a concert on 10 June 1825 in the auditorium of the Warsaw Conservatory. The performance gained a review in the Allgemeine musikalische Zeitung of Leipzig (probably written by Chopin's teacher Józef Elsner) praising its "wealth of musical ideas". Robert Schumann wrote to his teacher Friedrich Wieck of the Rondo in 1832: "Chopin's first work (I believe firmly that it is his 10th) is in my hands: a lady would say that it was very pretty, very piquant, almost Moschelesque. But I believe you will make Clara study it; for there is plenty of spirit in it and few difficulties. But I humbly venture to assert that there are between this composition and Op. 2 two years and twenty works."

The Rondo in E-flat major, Op. 16, sometimes called Introduction and Rondo, is a classical composition by Frédéric Chopin, written in 1833. It was dedicated to his pupil Caroline Hartmann.

The Scherzo No. 1 in B minor, Op. 20, is a composition for solo piano written by Frédéric Chopin and dedicated to Thomas Albrecht. As to the genesis of this Scherzo, little is known beyond the 1835 publication date, though it is presumed to have been completed around 1833. The piece begins with the tempo marking Presto con fuoco. The piece is dark, dramatic, and lively. It is complex and considered to be one of Chopin's more difficult works.

The Scherzo No. 2 in B♭ minor, Op. 31 is a scherzo by Frédéric Chopin. The work was composed and published between 1835 and 1837, and was dedicated to Countess Adèle Fürstenstein. As pianist David Dubal has written, Robert Schumann compared this scherzo to a Byronic poem, "so overflowing with tenderness, boldness, love and contempt." According to Wilhelm von Lenz, a pupil of Chopin, the composer said that the renowned sotto voce opening was a question and the second phrase the answer: "For Chopin it was never questioning enough, never soft enough, never vaulted (tombe) enough. It must be a charnel-house." Dubal wrote that critic James Huneker "exults": "What masterly writing, and it lies in the very heart of the piano! A hundred generations may not improve on these pages."

The Scherzo No. 3, Op. 39, in C♯ minor by Frédéric Chopin. He began composing it 1838 in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain, and completed it back in France by the end of 1839. This is the most terse, ironic, and tightly constructed of the four scherzi, with an almost Beethovenian grandeur. Frédéric Chopin dedicated this composition to one of his closest pupils, Adolphe Gutmann.

The Scherzo No. 4, Op. 54, in E major by Frédéric Chopin was composed in 1842 in Nohant. The scherzo was published in 1843. Unlike the preceding three scherzi (Op. 20, Op. 31, Op. 39), the E-major is generally calmer in temperament, though it still possesses some exceptionally passionate and dramatic moments. It seems to be a work that divides opinion: for pianist Jack Gibbons the 4th scherzo "is one of Chopin's most elegiac works, and without doubt contains some of the most profound and introspective music the composer ever wrote" while for John Palmer the work exhibits "more capriciousness and elegance than profundity." Petazzi said this scherzo differs from the others "as if it had passed through a magically purifying expressive filter." The scherzo is in sonata rondo form, with a trio in C♯ minor. It is the only one of Chopin's four scherzos primarily in a major key. As one critic explains, "When Chopin is at his happiest, most outwardly serene, then, for the pianist, he is at his most treacherous. The Fourth Scherzo is the only one in a major key and its mercurial brilliance and whimsy are notoriously hard to control." Saint-Saëns particularly liked this scherzo.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 3 in B minor, Op. 58, is a piano sonata in four movements composed by Polish composer Frédéric Chopin; it is the second of the composer's three mature sonatas (the others being the Piano Sonata No. 2, Op. 35, and the Sonata for Piano and Cello in G minor, Op. 65). Completed in 1844 and published in 1845, the work is considered to be one of Chopin's most difficult compositions, both technically and musically. The work has a structure similar to Piano Sonata No. 5, Op. 81 by Johann Nepomuk Hummel. A performance of the sonata lasts around 23 to 30 minutes, depending on whether the repetition of the exposition in the first movement is observed. The work is dedicated to Countess Élise de Perthuis.

Frédéric Chopin's waltzes are pieces of moderate length for piano, all written between 1824 and 1849. They are all in waltz triple meter, specifically 34 (except Op. P1/13, which is in 38 time), but differ from earlier Viennese waltzes in not being intended for dancing; nonetheless, several have been used in ballets, most notably Les Sylphides. Some are accessible by pianists of modest capability, others require advanced technique. Chopin may have written as many as 37 piano waltzes, but only nineteen (along with one inauthentic waltz) are numbered and only eight were published (in Opp. 18, 34, 42 and 64) before he died. His desire was that any unpublished works should be burned, but his sister Ludwika and Julian Fontana proceeded anyway to publish Waltzes 9–13 (as Opp. 69 and 70). Six waltzes composed 1826–1831 and present in Frédéric’s Paris home were at first preserved but then lost in an unintended 1863 fire in Ludwika's house. Another six were eventually published as Waltzes 14–19. These Chopin had given to related people without guarding the manuscripts. Waltz 18 was untitled; it is in 34 time and bears some characteristics of a waltz but is marked Sostenuto. Waltz 17 is not accepted as authentic by the Fryderyk Chopin Institute; to the other five in this group it has assigned WN numbers (29, 18, 28, 53 and 63). Waltz 20 is likewise inauthentic. Another authentic waltz in A minor was rediscovered in 2024 and has not yet been published or numbered. Separately, the last variation of Chopin’s (authentic) Variations on a German National Air (Der Schweizerbub), WN 6, is in the form of a waltz. Besides, there remain: Extant waltzes in private hands, unavailable to researchers Waltzes believed destroyed or lost Waltzes of which documentary evidence exists but whose manuscripts are not known to exist Famous are the Minute Waltz and the Waltz in C♯ Minor, both from Op. 64, the last set of waltzes Chopin published before his death.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many musical contemporaries, including Robert Schumann. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Aurore Dupin (known by her pen name George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 proved one of his most productive periods of composition. In his final years he was supported financially by his admirer Jane Stirling. In poor health most of his life, Chopin died in Paris in 1849 at age 39. All of Chopin's compositions feature the piano. Most are for solo piano, though he also wrote two piano concertos before leaving Warsaw, some chamber music, and 19 songs set to Polish lyrics. His piano pieces are technically demanding and expanded the limits of the instrument; his own performances were noted for their nuance and sensitivity. Chopin's major piano works include mazurkas, waltzes, nocturnes, polonaises, the instrumental ballade (which Chopin created as an instrumental genre), études, impromptus, scherzi, preludes, and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of Mozart and Schubert, and the atmosphere of the Paris salons, of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period. Chopin's music, his status as one of music's earliest celebrities, his indirect association with political insurrection, his high-profile love life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. Among his many memorials is the Fryderyk Chopin Institute, which was created by the Polish parliament to research and promote his life and works, and which hosts the prestigious International Chopin Piano Competition, devoted entirely to his works.

Frédéric Chopin's waltzes are pieces of moderate length for piano, all written between 1824 and 1849. They are all in waltz triple meter, specifically 34 (except Op. P1/13, which is in 38 time), but differ from earlier Viennese waltzes in not being intended for dancing; nonetheless, several have been used in ballets, most notably Les Sylphides. Some are accessible by pianists of modest capability, others require advanced technique. Chopin may have written as many as 37 piano waltzes, but only nineteen (along with one inauthentic waltz) are numbered and only eight were published (in Opp. 18, 34, 42 and 64) before he died. His desire was that any unpublished works should be burned, but his sister Ludwika and Julian Fontana proceeded anyway to publish Waltzes 9–13 (as Opp. 69 and 70). Six waltzes composed 1826–1831 and present in Frédéric’s Paris home were at first preserved but then lost in an unintended 1863 fire in Ludwika's house. Another six were eventually published as Waltzes 14–19. These Chopin had given to related people without guarding the manuscripts. Waltz 18 was untitled; it is in 34 time and bears some characteristics of a waltz but is marked Sostenuto. Waltz 17 is not accepted as authentic by the Fryderyk Chopin Institute; to the other five in this group it has assigned WN numbers (29, 18, 28, 53 and 63). Waltz 20 is likewise inauthentic. Another authentic waltz in A minor was rediscovered in 2024 and has not yet been published or numbered. Separately, the last variation of Chopin’s (authentic) Variations on a German National Air (Der Schweizerbub), WN 6, is in the form of a waltz. Besides, there remain: Extant waltzes in private hands, unavailable to researchers Waltzes believed destroyed or lost Waltzes of which documentary evidence exists but whose manuscripts are not known to exist Famous are the Minute Waltz and the Waltz in C♯ Minor, both from Op. 64, the last set of waltzes Chopin published before his death.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

Frédéric Chopin's waltzes are pieces of moderate length for piano, all written between 1824 and 1849. They are all in waltz triple meter, specifically 34 (except Op. P1/13, which is in 38 time), but differ from earlier Viennese waltzes in not being intended for dancing; nonetheless, several have been used in ballets, most notably Les Sylphides. Some are accessible by pianists of modest capability, others require advanced technique. Chopin may have written as many as 37 piano waltzes, but only nineteen (along with one inauthentic waltz) are numbered and only eight were published (in Opp. 18, 34, 42 and 64) before he died. His desire was that any unpublished works should be burned, but his sister Ludwika and Julian Fontana proceeded anyway to publish Waltzes 9–13 (as Opp. 69 and 70). Six waltzes composed 1826–1831 and present in Frédéric’s Paris home were at first preserved but then lost in an unintended 1863 fire in Ludwika's house. Another six were eventually published as Waltzes 14–19. These Chopin had given to related people without guarding the manuscripts. Waltz 18 was untitled; it is in 34 time and bears some characteristics of a waltz but is marked Sostenuto. Waltz 17 is not accepted as authentic by the Fryderyk Chopin Institute; to the other five in this group it has assigned WN numbers (29, 18, 28, 53 and 63). Waltz 20 is likewise inauthentic. Another authentic waltz in A minor was rediscovered in 2024 and has not yet been published or numbered. Separately, the last variation of Chopin’s (authentic) Variations on a German National Air (Der Schweizerbub), WN 6, is in the form of a waltz. Besides, there remain: Extant waltzes in private hands, unavailable to researchers Waltzes believed destroyed or lost Waltzes of which documentary evidence exists but whose manuscripts are not known to exist Famous are the Minute Waltz and the Waltz in C♯ Minor, both from Op. 64, the last set of waltzes Chopin published before his death.

Waltzes, Op. 69 refers to two waltzes for solo piano by Frédéric Chopin, written in 1829 and 1835. Both were published posthumously by Chopin’s friend Julian Fontana in 1855.

Frédéric Chopin's Waltz in A minor, B. 150, WN 63, KK IVb/11, P. 2/11, is a waltz for solo piano. The waltz was published in 1860, after the composer's death, by Jacques Maho. At this time, it was attributed to Charlotte de Rothschild and was published as no. 3 of "Four pieces for piano". This collection also included Chopin's Nocturne in C minor, B. 108. In The Musical Quarterly, January 1939, Jacques-Gabriel Prod'homme first reported the waltz. In 1955, this piece was published in the special edition of the magazine La Revue Musicale and finally reattributed to Chopin. In 1965, it was republished by Andrzej Koszewski. There is disagreement over the date of composition: Chopin National Edition gives 1847–49, Maurice J. E. Brown gives 1843, and Gastone Belotti gives 1832–33 (specifically early 1833). Prod'homme referred to the waltz as a "youthful" work. Koszewski expressed that the waltz belonged to the Warsaw period of the composer, though also saying that it could date from a later period.

Frédéric Chopin's Waltz in A minor, B. 150, WN 63, KK IVb/11, P. 2/11, is a waltz for solo piano. The waltz was published in 1860, after the composer's death, by Jacques Maho. At this time, it was attributed to Charlotte de Rothschild and was published as no. 3 of "Four pieces for piano". This collection also included Chopin's Nocturne in C minor, B. 108. In The Musical Quarterly, January 1939, Jacques-Gabriel Prod'homme first reported the waltz. In 1955, this piece was published in the special edition of the magazine La Revue Musicale and finally reattributed to Chopin. In 1965, it was republished by Andrzej Koszewski. There is disagreement over the date of composition: Chopin National Edition gives 1847–49, Maurice J. E. Brown gives 1843, and Gastone Belotti gives 1832–33 (specifically early 1833). Prod'homme referred to the waltz as a "youthful" work. Koszewski expressed that the waltz belonged to the Warsaw period of the composer, though also saying that it could date from a later period.

Frédéric Chopin's waltzes are pieces of moderate length for piano, all written between 1824 and 1849. They are all in waltz triple meter, specifically 34 (except Op. P1/13, which is in 38 time), but differ from earlier Viennese waltzes in not being intended for dancing; nonetheless, several have been used in ballets, most notably Les Sylphides. Some are accessible by pianists of modest capability, others require advanced technique. Chopin may have written as many as 37 piano waltzes, but only nineteen (along with one inauthentic waltz) are numbered and only eight were published (in Opp. 18, 34, 42 and 64) before he died. His desire was that any unpublished works should be burned, but his sister Ludwika and Julian Fontana proceeded anyway to publish Waltzes 9–13 (as Opp. 69 and 70). Six waltzes composed 1826–1831 and present in Frédéric’s Paris home were at first preserved but then lost in an unintended 1863 fire in Ludwika's house. Another six were eventually published as Waltzes 14–19. These Chopin had given to related people without guarding the manuscripts. Waltz 18 was untitled; it is in 34 time and bears some characteristics of a waltz but is marked Sostenuto. Waltz 17 is not accepted as authentic by the Fryderyk Chopin Institute; to the other five in this group it has assigned WN numbers (29, 18, 28, 53 and 63). Waltz 20 is likewise inauthentic. Another authentic waltz in A minor was rediscovered in 2024 and has not yet been published or numbered. Separately, the last variation of Chopin’s (authentic) Variations on a German National Air (Der Schweizerbub), WN 6, is in the form of a waltz. Besides, there remain: Extant waltzes in private hands, unavailable to researchers Waltzes believed destroyed or lost Waltzes of which documentary evidence exists but whose manuscripts are not known to exist Famous are the Minute Waltz and the Waltz in C♯ Minor, both from Op. 64, the last set of waltzes Chopin published before his death.

Most of Frédéric Chopin's compositions were for solo piano, though he did compose several pieces for piano and orchestra (including two piano concertos) as well as some chamber works that include other instruments. His larger scale works such as the three piano sonatas, the four scherzi, the four ballades, the Fantaisie in F minor, Op. 49, the Barcarolle in F♯ major, Op. 60, and the Polonaise-Fantaisie in A♭ major, Op. 61 have cemented a solid place within the piano repertoire, as have his shorter works: the polonaises, mazurkas, waltzes, impromptus, rondos, and nocturnes. 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, Chopin 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), Józef Michał Chomiński (A, C, D, E, P, S), and Jan Ekier (WN, Dbop.).

The Grande valse brillante in E♭ major, Op. 18, was composed by Frédéric Chopin in 1833 and published in 1834. Chopin dedicated it to his pupil, Laura Horsford. This was his first published waltz composition for solo piano, although prior to 1834 he had written at least sixteen waltzes that were either destroyed or eventually published posthumously. Chopin also gave the title Grande valse brillante to the next three waltzes in the Op. 34 set, published in 1838. In 1909, Russian composer Igor Stravinsky made an orchestral arrangement of this waltz for Sergei Diaghilev's 1909 ballet Les Sylphides. Other composers who orchestrated this waltz for that ballet are Alexander Gretchaninov, Gordon Jacob, Roy Douglas, and Benjamin Britten.

Frédéric Chopin's Waltz in E major is one of his lesser known waltzes, discovered in his folder containing musical works that he did not want to be published. The waltz was written in 1829 and published in 1861. It was among the first of Chopin's posthumously published waltzes not to be given a posthumous opus number. It appears in the Chopin National Edition as WN 18, Brown's catalogue as B. 44, in Kobylańska's catalogue as KK IVa/12, and in Chomiński's as P1/12.

The Waltz in E minor is a waltz for solo piano by Frédéric Chopin. It was composed circa 1830 and published in May 1851. It was the first of Chopin's posthumously published waltzes not to be given an opus number. It was composed shortly before Chopin left Poland at the age of 20. Although this is the final (fourteenth) waltz in the older editions of Chopin (other waltzes being included in more recent editions), it is believed to have been composed before any of the waltzes published in Chopin's lifetime. In a typical performance, this waltz lasts just under three minutes. In 1956, Jerome Robbins choreographed his ballet The Concert (or, The Perils of Everybody) which uses, among other works by Chopin, the Waltz in E minor for the portion known as the "Mistake Waltz".

Waltzes, Op. 69 refers to two waltzes for solo piano by Frédéric Chopin, written in 1829 and 1835. Both were published posthumously by Chopin’s friend Julian Fontana in 1855.

The Waltz in D♭ major, Op. 64, No. 1, sometimes known as "Valse du petit chien" (French for "Waltz of the puppy"), and popularly known in English as the Minute Waltz, is a piano waltz by Polish composer and virtuoso Frédéric Chopin. It is dedicated to the Countess Delfina Potocka.

Waltzes, Op. 69 refers to two waltzes for solo piano by Frédéric Chopin, written in 1829 and 1835. Both were published posthumously by Chopin’s friend Julian Fontana in 1855.

Waltzes, Op. 69 refers to two waltzes for solo piano by Frédéric Chopin, written in 1829 and 1835. Both were published posthumously by Chopin’s friend Julian Fontana in 1855.