Frédéric Chopin(1810-1849)

Introductory Set

Master Set

Complete Piano Repertoire

The list is mostly complete to my knowledge. If there are any missing pieces(particularly major ones), please let me know by e-mail at pscheng@cs.cmu.edu.

Many of the piece descriptions are paraphrased or copied from Maurice Hinson's "Guide to the Pianist's Repertoire." This is an excellent reference work that a serious pianist should not be without. The work may be obtained from Indiana University Press. These quotes are reproduced under the fair use doctrine as clarified by the Association of American University Presses's Resolution on Permissions.

Jump to subsections

Actual list

• Piano Concertos
  • No. 1 in Em
  • No. 2 in Fm
• Andante Spinato and Grande Polonaise
• Ballades Go back to Section listing
  • Num 1 in Gm, Op 23

    This work is constructed more like a narrative than the others. Tonal ambiguity permeates the first 30 bars or so which are technically easy but musically more challenging. Fast legato and octaves and a long coda require advanced pianism.

  • Num 2 in FM, Op 38
  • Num 3 in Ab, Op 47
  • Num 4 in F, Op 52
• Scherzos Go back to Section listing
  • Num 1 in Bm, Op 20
  • Num 2 in Bbm, Op 31

    The most popular of the scherzos. The opening three bars provide the questioning figure that plays a large part in this piece. Contrasting motive intrudes and leads to the first melody. Mid-section trio contains thin textures that leads to a lengthy dramatic passage that returns to the openining initial idea. The piece requires brilliant finger technique.

  • Num 3 in C#m, Op 39

    The most dramatic of the Scherzos. Opening octaves in both hands are followed by a chorale-lie melody with falling sprays of leggierissimo arpeggios interspersed among the sostenuto chords. ABA design like the other Scherzos with a dashing con fuoco finale. This work requres strong fingers.

  • Num 4 in EM, Op 54
• Rondos
  • Num 1 in cm, Op 1
  • Num 2 in FM, Op 5
  • Num 3 in EbM, Op 16
• Impromptus Go back to Section listing
  • Impromtu in AbM, Op 29
  • Impromtu in F#M, Op 36
  • Impromtu in GbM, Op 51
  • Fantasie-Impromtu in C#m, Op 66

    Graceful figuration alternates with a lyric mid-section. An effective coda combines the first and second themes. Moderately difficult.

• 27 Etudes
  • Op 10, No 1-11
  • Op 10, No 12

    The "Revolutionary Etude" keeps the left hand very busy, but the right hand must dominate with fiery and dramatic statements.

  • Op 25, No 1-12
  • Trois Nouvelles Etudes, No 1-3
• 25 Preludes
  • Op 28, No 1,2,4-19,21-24
  • Op 28, No 3 in G

    Etude-like, combines virtuoso light left-hand running accompanimental figuration with a legato right-hand melody. Evenness is a problem.

  • Op 28, No 20 in cm

    Massive and majectic chords dissolve to tranquil calm. Chopin originally ended this piece at bar 9; a grand chorale chord study.

  • Op 45, C#m
  • Postumous in AbM
• Waltzes Go back to Section listing
  • Op 18 (Grande Valse Brillante)
  • Op 34, No 1
  • Op 34, No 2

    A slow expressive type; opening theme cello-like.

  • Op 34, No 3
  • Op 42
  • Op 64, No 1

    The "Minute" Waltz.

  • Op 64, No 2-3
  • Op 69, No 1-2
  • Op 70
  • Op 64, No 1 in Eb(Valse Brillante)
  • Op 64, No 2 in C#m
• Polonaises Go back to Section listing
  • Op 26, No 1

    Bold opening figure keeps returning in a piece that is mainly lyric in character. Tuneful theme in Db is laced with chromatic slides.

  • Op 26, No 2
  • Op 40, No 1

    This "Military Polonaise" requires rhythmic chord playing and is usually played too fast.

  • Op 40, No 2
  • Op 44
  • Op 53

    The best known of the polonaises. A superb epic with an aristocratic march theme. Arpeggiated chords open the trio, which is full of a rhythmic theme; lyric passage leads back to the noble opening idea. Requires a majectic tempo.

  • Polonaise-Fantasie Op 61
  • Op 71, No 1-3
  • Andante Spianato and Grand Polonaise in EbM, Op 22
  • Posthumous gm
  • Posthumous BbM
  • Posthumous AbM
  • Posthumous g#m
  • Posthumous bbm
  • Posthumous GbM
• 21 Nocturnes Go back to Section listing
  • Op 9, No 1

    Single notes and octaves requires singing legato. Nocturnal calm of the left-hand arpeggios is disturbed by an outburst of passion in the right hand that creates dramatic grandeur.

  • Op 9, No 2

    The shortest and one of the most popular of the nocturnes. Graceful but not too difficult.

  • Op 9, No 3
  • Op 15, No 1

    Tranquil cantilena opening section with some daring harmony. Turbulent mid-section requires a powerful left hand. Serene closing.

  • Op 15, No 2
  • Op 15, No 3

    Lighter in substance and one of the easier nocturnes. Exploits legato chord playing in the second half; another fine coda.

  • Op 27, No 1-2
  • Op 32, No 1-2
  • Op 37, No 1-2
  • Op 48, No 1-2
  • Op 55, No 1

    The melodic line is of extreme simplicity, similar to a Polish folk song of the "dumka"(elegy) type. Fairly easy except for the cadenza-like coda.

  • Op 55, No 2
  • Op 62, No 1-2
  • Op 72

    Sustained cantabile opening and closing sections; florid and passionate version of the main theme provides the mid-section. Straightforward and not too difficult.

  • Nocturne in C#m(no Op - 1830)
  • Nocturne in Cm (no Op - 1837)
• 57 Mazurkas - only 47 listed Go back to Section listing
  • Op 6, No 1-4
  • Op 7, No 1-5
  • Op 17, No 1-3
  • Op 17, No 4

    Lydian mode; plaintive melody that ends in the air on an inverted triad; drone bass

  • Op 24, No 1-2
  • Op 30, No 1-4
  • Op 33, No 1-4
  • Op 41, No 1-4
  • Op 50, No 1-3
  • Op 56, No 1-3
  • Op 59, No 1-3
  • Op 63, No 1-3
  • Op 67, No 1-4
  • Op 68, No 1-4
• Piano Sonatas
  • No 1 in c for Piano
  • No 2 in Bbm for Piano
  • No 3 in Bm for Piano
• Misc. Compositions
  • Bolero in am, Op 19
  • Tarantelle in AbM, Op 43
  • Fantasie in fm, Op 49
  • Berceuse in DbM, Op 57
  • Barcarolle in F#M, Op60
  • 3 Ecossaises in DM, GM, DbM, Op72(posthumous)