Chopin’s Prelude No. 4 in E Minor is one of the 24 preludes opus 28 for piano. By Frédéric Chopin’s request, this piece was played at his own funeral, along with Mozart’s Requiem.
Chopin’s Piano Sonata No 3 in B Minor, Op. 58, is the last of the composer’s piano sonatas. Completed in 1844 and dedicated to Countess Émilie de Perthuis, the work is considered to be one of Frédéric Chopin’s most difficult compositions, both technically and musically.
The Polonaise No 6 in A-flat major, Op. 53 was called Polonaise Héroïque (heroic) in french) by Frédéric Chopin’s French lover, the writer Georges Sand. This composition is one of Chopin’s most admired and has long been a favorite of the classical piano repertoire.
Nocturne No. 13 is part of Nocturnes, Op. 48, a set of two nocturnes written by Chopin in 1841 and published the following year in 1842. They are dedicated to Mlle. Laure Duperré.
Ballade No. 1 in G minor, Op. 23, dates to sketches Chopin made in 1831 during his eight-month stay in Vienna. It was completed in 1835 after his move to Paris, where he dedicated it to Baron Nathaniel von Stockhausen, the Hanoverian ambassador to France.
The two Nocturnes, Op 55 by Frédéric Chopin, the fifteenth and sixteenth of his nocturnes, were composed between 1842 and 1844, and published in August 1844.
The Polonaise Fantaisie in A-flat major, Op. 61, from Frédéric Chopin, dedicated to Mme A. Veyret, was written and published in 1846. This work was slow to gain favor with musicians, due to its harmonic complexity and intricate form.
Chopin’s Prelude in C-Sharp Minor, Op. 45 (sometimes listed as Prelude No. 25), was composed in 1841. It was dedicated to Princess E. Czernicheff (Elisaweta Tschernyschewa).
Known as Étude Revolutionary, Chopin Étude Op 10, No 12 in C minor is dedicated “à son ami Franz Liszt” (“to his friend Franz Liszt”). The 12th Étude appeared around the same time as the November Uprising in 1831 and its first chord sounds like a gunshot.
In 1834, Frédéric Chopin wrote an Andante Spianato in G Major, for piano solo, which he added to the start of the Grande Polonaise Brillante in E-Flat Major and joined the two parts with a fanfare-like sequence.
