This catalogue uses standard bibliographic terminology but also some distinctive terms which are explained below, along with divergences from normal usage. Abbreviations appear in round brackets as relevant. Reference is made on occasion to the Oxford English Dictionary (OED).
Additional Distinguishing Feature(s) (ADF)
Distinctive ‘non-musical’ elements or graphic details associated with the music text which help to identify a score (see also Additional distinguishing feature(s) under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Either announcements and other forms of publicity in the musical press or elsewhere, or, with reference to the contents of an edition, extracts from the publisher’s catalogue printed on one or more pages of a score and/or the wrapper enclosing it.
Album title page (ATP): see Title page
Bar(s) (b., bs)
British term (cf. ‘measure’) for standard metrical units within the music text. Bar numbers are specified as wholes (e.g. 66–68, 213–214), not in abbreviated form (e.g. 66–8, 213–14).
A ‘pair of conjoint leaves’ (OED) comprising four pages. Used rarely in the catalogue, either to indicate an unusual aspect of a given score’s composition (e.g. 2–1b-HAt, 66–1-Sam (A-Wn copy)) or to distinguish the parts of an edition containing music text from those with illustrations or facsimile reproductions (e.g. 32/1–1-Sam, 32/1–1a-Sam).
Denotes a decorative border which is simpler and less imposing than a frame (see Frame below; e.g. 43–1-SCHU, 44–1b-ME, 45–2-Sm). Comments are made about specific decorative features only when digital images of TPs are not readily available for consultation.
Caption title (CT)
Text at the top of the first page of music text or in an analogous position elsewhere in an edition, stating the composer’s name, title of work, opus number, etc. (See also Caption title under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’; cf. Headline below.)
Catalogue extract: see Advertisement
Common title page (CTP)
Title page used for constituent works within a given opus which are divided into more than one ‘book’ (Opp. 10, 25, 28) or published both as ‘sets’ and in separate editions (Opp. 9, 32, 34, 48, 64). The term is also used for title pages found in two or three different editions of single opuses, of pieces taken from different opuses and/or of works published without opus number. These include Wessel’s editions of Opp. 6 & 7; Schonenberger’s editions of Opp. 1, 2 & 5; Wessel’s separate reprints of Op. 26 No. 1 & Op. 40 No. 1; and Kocipiński’s editions of Wojak and Źyczenie (see 74/10&1–1-KO, 74/10–1a-KO, 74/1–1a-KO). (See also Title page.)
A specimen or exemplar of a given edition or impression (see OED, s.v. ‘Copy’, III.6.a). Occasional reference is made to a ‘scribal copy’, for instance in discussing a Stichvorlage used to prepare a score. It is clear from the context which type of copy is meant.
Modern copyright notices in the form ‘Propriété des Editeurs’/‘Propriété pour tous pays’/‘Copyright of the Publishers’/‘Eigenthum der Verleger’ can be found in most Chopin first editions (e.g. 3–1-W, 6–1-KI, 7–1-Sm, PolG#m–1-SCH, B&H STP in Appendix I). Equivalent or complementary forms – namely, ‘Enregistré aux Archives de l’Union’/‘Eingetragen in das Vereins-Archiv.’ in the German states, and ‘Ent. Sta. Hall’ in England – often appear either to provide additional information (e.g. 3–1-W, 7–1-KI, 12–1-B&H, B&H STP in Appendix I) or by way of substitution (e.g. 6–1-W, 8–1-W). The adapted form ‘deposit notices’ is used in certain cases (e.g. PolG-–1-SCH). The absence of such notices could have occurred because of an oversight on the part of the publisher (e.g. 15–1-Sm) or, more frequently, because the piece in question was in the public domain (e.g. 1–1-Sm, 2–1-Sm, 3–1-Sm, 5–1-SC). See also Deposit notice.
Corrected reprint: see Reprint
Designates a hard cover in card or similar stock, forming an integral part of an album or volume. The abbreviation ‘CP’ (cover page) features in the ‘Copies’ field to describe the contents of a cover (e.g. 74–1a-LW (GB-Lbl copy)). We have only taken into account original covers when describing the Chopin first editions. For more information see Wrappers and covers under ‘General characteristics of Chopin’s first editions’ in ‘Historical overview’, and Comments and Copies under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’.
Cover page (CP): see Cover
Used either in the general sense of ‘the dedicating of a book, etc.; the form of words in which a writing, engraving, etc., is dedicated to some person’ (OED), or, more specifically, pages or leaves specially reserved for the name of a dedicatee (see also Dedication under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Distinguishing Musical Feature(s) (DMF)
Select features in the music text which help to identify a score (see also Distinguishing musical feature(s) under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Code assigned to each catalogue entry comprising opus number or short title, number of the edition followed by a letter designating the relevant impression, and siglum of the publisher (see also Edition/impression code under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Denotes the use of an intaglio printing method on the basis of engraved copper or zinc plates (cf. Lithographed and Lithographic transfer below).
‘FE’ (i.e. First edition)
Descriptor applied to all first impressions of the Chopin first editions, preceded by one of the following letters – A/E/F/G/I/P, respectively Austrian, English, French, German, Italian and Polish – corresponding to the country of origin (thus, AFE, EFE, etc.). Such impressions have ‘1’ with no accompanying letter as the second element within their edition/impression code. In certain cases the descriptor is qualified as follows: ‘GFE (16-leaf version)’ (25/1-6–1-B&H and 25/7-12–1-B&H) and ‘GFE (15-leaf version)’ (compare 25/1-6–1a-B&H and 25/7-12–1a-B&H); this occurs where a single edition exists in two versions which are identical apart from the presence or absence of a blank final leaf, and which appear to have been published at the same time or in close succession (although it is impossible to determine the exact chronology because of insufficient evidence).
As noted in the ‘Historical overview’, multiple ‘first editions’ of certain works were produced in individual countries either in parallel or within a few years of each other. In such cases, reference is made to ‘another FFE’ (e.g. 3–1-Sm), ‘another GFE’ (e.g. 1–1-HO) or ‘another EFE’ (e.g. 63/1–1-CRB), etc. Similar references to ‘another English edition’, etc., appear as required (e.g. 66–1-CO).
One or more blank leaves between the cover/wrapper and the score proper; these typically appear in large-scale publications such as albums and the volumes containing the Méthode des Méthodes. Reference is made in this catalogue only to original flyleaves (e.g. 15–1a-Sm, 32/2–1-Sam (A-Wn and D-Bds second copy)). We regard material stuck to the inside of the cover not as part of the volume itself but as integral to the cover. We also apply this term to certain blank leaves placed between the cover and the score whose role in the construction of a volume is difficult to establish but which probably were not flyleaves in the strict sense (e.g. MEG–1-CH – leaves containing pp. v–viii of PL-KÓ copy; MFM–1-SCH – flyleaves listed in Comments field). (See also Contents under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’.)
Text at bottom of page principally within the music text, including such features as plate number, name and address of publisher, copyright notice, name of series, etc. (see also Footline under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Used to denote both the shape or orientation of a score (e.g. ‘oblong format’; see OED, s.v. ‘Format’, 1.a) and the ‘style or manner of arrangement or presentation’ thereof (e.g. ‘10-leaf format’; see OED, s.v. ‘Format’, 1.b; cf. also ‘Collation’, 4.b).
Denotes a richly decorated frame more prominent than a relatively simple border (see Border above; e.g. 2–2-HAt, 6–4-KI, 19–1c-PE, 43–2b-SCHU, 50/1–2-Sm). Comments are not made on the decorative features of TPs which are readily available for consultation on either the CFEO or the OCVE sites, or in other accessible digital collections.
Short title page summarising information on the main title page, found in addition to an ITP or STP, introducing constituent works or sections within a volume, or appearing on front wrappers (see also Half-title under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Line of text (usually a running title) above the music text in certain editions, centred at the top of the page (see also Headline under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
An issue of an edition which consists of either the original impression, a later reprint (e.g. 1–1b-A&P, 6–2b-KI, 44–1a-ME) or a special reprint (e.g. 15–1a-Sm, 27–1f-A&P). The term is used whether or not all copies thereof were printed at the same time. It is also employed to refer to the quality of print (e.g. 7–1j-A&P, 9–2-KI). The plural ‘impressions’ serves as a rubric for the catalogue entries under which the copies containing STPs/advts are classified in Appendices I & II.
Text printed in small characters and located at the bottom of certain pages, containing summary information about the publisher (e.g. 7–6-KI, 65–1f-B&H), engraver (e.g. 35–1-TR), lithographer (e.g. 26/1–1e-W) or printer (e.g. 1–1a-BR, 6–4a-KI). By extension, also used to describe text below lithographed portraits or facsimiles (e.g. 15–1a-Sm, 32/1–1-Sam).
Individual title page (ITP)
Title page particular to an edition published in one volume, whether of a single work, an opus comprising more than one constituent piece, or another multipartite collection (e.g. 1–1-BRZ, 4–1-R, 10–1-Sm). (See also Title page.)
A small strip of paper or other material pasted to a score, usually over the publisher’s name and address on the TP and bearing the name of a new publisher or music seller (see also copies under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Either a singleton or one half of a bifolium, consisting in either case of two pages formed by the front (recto/obverse) and back (verso/reverse).
A decorative image on one of the initial pages of a volume, reproduced by a lithographic method (e.g. 32/1–1a-Sam (A-Wn and D-Bds copies), 45–1-ME (A-Wn and G-Lbl copies), Posth–1-MEIf, Posth–1-Sam). Such images depicting a person are designated ‘lith. portrait’ (15–1a-Sm, 23–2-B&H, 32/2–1-Sam (A-Wn and PL-WRu copies), 33/1&2–1a-B&H, 62/2–1a-BR).
Denotes a technique of printing from a lithographic stone or other flat surface, as distinct from engraving (see above). The title pages of most German first editions of Chopin were produced by means of this method. Lithographed music text generally derives from lithographic transfer (see below).
Process whereby the contents of engraved plates were transferred onto limestone and then reproduced on an impression plate for subsequent printing. The term is also used in classifying copies produced via this technique (or, exceptionally, by means of other transfer methods – see 74–1a-H), possibly in combination with other descriptors or qualifiers such as ‘Titelauflage/corrected lithographic transfer’ (21–1e-B&H) and ‘lithographic transfer with modified TP’ (27/2–1g-A&P), or in the adapted form ‘FFE, published as lithographic supplement’ (33–1-Sm).
Refers to Breitkopf & Härtel’s printed oval imprint centred at the bottom of ITPs and STPs and containing a lyre framed by the name of the firm on both sides and an asterisk underneath (see also Classificatory criteria in ‘Explaining the Annotated Catalogue’, Publications of Breitkopf & Härtel in ‘Historical overview’, and Stamp below).
Passe-partout: see Series title page (see also Title page)
Printed at the bottom of the page, this literally refers to the number of the plates assigned to an edition by the publisher. It may consist only of numerals (e.g. 1–1-HO, 6–1-KI, 12–1-B&H) but equally could include the publisher’s initials (e.g. 1–1-Sm, 1–1-W, 16–1-PL). Works published in volumes may have several plate numbers, e.g. one for the piano part and another for the orchestral parts (e.g. +11–1-KI, 13–1-KI, 14–1-KI). In a few editions, the letters within the relevant plate number seem to have no direct relation to the firm’s initials (see 4–1-RI, 59–2-F, HEX–1-RI, VGNA–1-RI).
Oeuvres posthumes, first published by J. Meissonnier fils in Paris (see Posth–1-MEIf) and, as Opp. 66–73, by A. M. Schlesinger in Berlin (see Posth–1-Sam); cf. more generic references to ‘posthumous works’ (i.e. without initial capitals).
Explanatory text found at the end of an edition (cf. Preface); this includes the displaced prefatory material found at the end of the reprints released by A. M. Schlesinger.
Explanatory text found at the beginning of an edition (cf. Postscript).
Leaves at the beginning of a volume including such features as the series title page, decorative lithographs, tissue paper, dedications, preface, contents list, etc. Synonymous with ‘front matter’, the term appears rarely in this catalogue – namely, to describe the Posthumous Works published in volume format (see Posth–1-MEIf, Posth–1a-COM, Posth–1b-GE, Posth–1-Sam).
Refers to a printing method using movable type (letterpress) or some other technique apart from engraving or lithography.
Term used in this catalogue for the rare surviving copies that preceded publication. All lack title pages except for Op. 37 and the Méthode des Méthodes volume. The edition/impression codes used for such proofs feature a ‘0’ as their second element (10/2–0-Sm, 35–0-TR, 37–0-TR, 38–0-TR, 40–0-TR, 41–0-TR, 42–0-P, MM–0-Sm, WaltzEm–0-K).
Date when an edition appeared on the market and when its physical existence can be assumed.
Date when an edition was registered. Equivalent to publication date in the case of editions released in France (apart from the five proof copies described under Dating the editions in ‘Explaining the Annotated Catalogue’) and the German states. In England, it often concerns the registration of the title only and does not necessarily imply the physical existence of an edition, given that deposit copies could be provided at a later date.
A second or later impression of a previously printed edition. The fact that print runs tended to be small meant that reprints appeared in rapid succession. The middle component of the edition/impression code of first reprints (i.e. second impressions) ends with ‘a’, while the following letters of the alphabet are employed for subsequent reprints.
An impression is referred to as a ‘corrected reprint’ only when changes have been made to the music text (e.g. 18–1a-Sm, 52–1c-B&H). Modifications to any other part of an edition – irrespective of their nature or proximity to the music text – are designated otherwise. For example, changes in printing technique, revisions to the title page and altogether new versions of the latter are highlighted under ‘Comments’ (e.g. ‘lithographic transfer with modified title page’, ‘engraved/hybrid/special reprint’, ‘Titelauflage’), while those concerning contents, headlines, caption titles, sub-captions and footlines are detailed under ‘Modifications’. The corrections in numerous reprints, which may in fact have introduced new errors, encompass the music text as well as one or more of the elements just cited. The term is also used in combination with other descriptors or qualifiers such as ‘corrected reprint in separate editions’ (e.g. 33–2b-B&H) and ‘corrected reprint with modified title page’ (e.g. 1–1a-Sam). Alternatively, in certain contexts it may be replaced by ‘lithographic transfer’ (e.g. 15–2b-B&H, 16–1c-B&H), ‘Titelauflage’ (e.g. 1–1a-BR, 4–1b-COC, 6–2c-KI) or ‘special impression’ (15–1a-Sm, 27–1f-A&P).
Second, third, etc. edition
Used only when the entire music text of an edition has been newly engraved (e.g. 1–2-HO, 2–2-HAt, 6–4-KI, 64–2-B&H) or – in a single case, 69–2-Sam – where over 50 per cent thereof was generated from new plates in comparison with the preceding impression. The successive impressions of all other editions – including those produced using new plates but to a lesser proportion than the aforementioned 50 per cent – are referred to as ‘corrected reprints’ (see 3–1a-ME, 3–1b-W, 25/1-6–1a-W), as a ‘reprint’ (see 74–1c-H) or by some other designator (see 7–1k-A&P, 33–1h-A&P, 69–2a-Sam). (Thus, the term ‘corrected reprint’ is applied even to Hofmeister’s edition of Op. 5, the evolution of which involved the progressive replacement of nine out of thirteen plates but with less than 50 per cent of the content changing from one impression to another; see 5–1a-HO, 5–1b-HO, 5–1c-HO, 5–1d-HO, 5–1e-HO, 5–1g-HO.) The modifications made to partially revised editions are detailed in the editorial commentary accompanying the relevant catalogue description, with a clear indication of which pages were printed on the basis of new plates, etc. Note that the first impressions of many new editions recycle the title pages from an earlier engraving (e.g. 6–2-KI to 6–2b-KI, 6–3-KI, 7–2-BR, 18–2-B&H).
Series title page (STP)
Title page intended for use in multiple publications without significant adaptation (cf. Krummel and Sadie 1990: 522), containing either the title of and summary information about the collection, or the title and complete list of works therein. The term is also employed for title pages found in four or more editions or whose wording implies their presence in at least four editions (see Appendix I for examples of STPs). In this catalogue the terms ‘series title page’ and ‘passe-partout’ are used synonymously. (See also Title page.)
A numeric or alphanumeric reference code indicating the location of given scores in the libraries that hold them; these are found immediately after the relevant library siglum in the lists of ‘Copies’.
A stamp that imitates or resembles a handwritten signature (griffe in French). Most stamps of this kind are facsimiles of the publisher’s signature or present the name and sometimes the address of the firm (see also Stamp).
A single leaf (i.e. without conjugate) included in an edition comprising an odd number of leaves; typically found in the middle of a score. The presence of such leaves is not explicitly signalled in this catalogue but can be inferred from the descriptions.
Set of five horizontal lines used to indicate pitch. Reference is made here to treble, bass, right-hand and left-hand staves. The term also serves as a counterpart to ‘system’ (see below) when describing the Grand Duo Concertant, the instrumental parts of the works with orchestra (e.g. 2–1(Orch)-HAt), and Opp. 3, 8 & 65, most notably with regard to the variable positioning of sub-captions.
Denotes a stamped imprint containing text such as publishers’ names and addresses, sales agents, former owners, libraries, etc. The form of each stamp is described wherever possible, although occasionally a stamp has no relation to a standard geometric shape and thus defies straightforward description. Stamps with significant decorative elements are referred to accordingly, i.e. as ‘decorative stamps’ (see also Logo, Signature stamp and Copies under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Literally ‘engraving model’; refers more generally to a source, or base text, used in the preparation of engraved plates or other print masters. In the case of Chopin’s first editions, various types of Stichvorlage were employed, including autograph manuscripts, scribal copies, and corrected or uncorrected proofsheets from other editions.
Text on the left of the first system or staff of either a single composition or one comprising several movements or independent works; usually consists of title and ordinal number of the piece and may also include tempo indications, metronome marks, etc. (see also Sub-caption under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’).
Two or more staves joined by a brace (or, less commonly, barlines). The descriptions in this catalogue generally refer to systems of paired staves in accordance with standard pianistic notation (e.g. 5–1h-HO, 13–1-W, 13–1b-A&P, 16–1-PL, 23–1e-B&H, 28–1-B&H, 35–0-TR, 58–1-MEIj; see also Staff).
Sheet of fine, translucent paper intended to protect a decorative lithograph.
Term of German origin used by bibliographers to describe a reprint with new title page. In this catalogue it occurs most frequently with regard to the definitive replacement of an individual title page by another ITP (e.g. 9–1c-BR, 15–2a-B&H), of a title page by a series title page (e.g. 1–1a-W, 1–1a-BR, 32/1–3a-Sam), or of a STP by a new STP (1–1b-A&P, 4–1-COC, 25/1-6(sep)–2e-B&H). The term implicitly applies to the arrangements of chamber works and to reprints with STPs (usually brought out in separate editions) which were marketed in parallel with the original versions (published in volumes and with ITPs). It is explicitly used, however, in describing a work simultaneously available in volume form and in separate editions, given that the STP of the latter – which we identify as a Titelauflage – also appeared with certain modifications in later reprints of the volume (see 74–1b-G, 74–1d-G). In addition, the term is used in combination with other descriptors or qualifiers such as ‘corrected Titelauflage’ (e.g. 30–1e-B&H, 43–1d-SCHU), ‘Titelauflage/reprint in separate editions’ (74–1b-G) and ‘Titelauflage/corrected lithographic transfer’ (e.g. 21–1e-B&H).
Title page (TP)
Used in abbreviated form in the main body of the catalogue to designate a title page of a general kind, or a more specific type such as album title page (ATP), individual title page (ITP), common title page (CTP) or passe-partout/series title page (STP). See Title pages under ‘General characteristics of Chopin’s first editions’ in the ‘Historical overview’ for further information about the different types of title page.
Folded bifolium of finer, often coloured paper or similar stock which could be detached from the score that it enclosed. Only original wrappers are described in this catalogue. The abbreviation ‘WP’ (wrapper page) features in both the ‘Comments’ and the ‘Copies’ fields to indicate the presence of decorative elements (see 50/1–2-Sm, HEX–1-HAt (first A-Wn copy)). The abbreviation also appears in the ‘Copies’ field to specify the location of a given stamp (e.g. 3–1c-BR), annotation (e.g. 8–1b-KI (D-LEm copy)), signature (e.g. 28/1-12–1b-BR) or label (e.g. 47–1b-B&H (US-Wc copy)), or when referring to a relevant defect (see Posth–1-MEIf: Op. 73 (third F-Pn copy)). For further discussion see Wrappers and covers under ‘General characteristics of Chopin’s first editions’ in the ‘Historical overview’, and Comments and Copies under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’.
Wrapper page (WP): see Wrapper
 For explanations of the Contents field see the eponymous section under ‘Descriptive method’ in ‘Explaining the Annotated Catalogue’. Concerning ‘Distinguishing Features’ see Descriptive method in Appendices part.
 In a similar case where two otherwise identical versions were simultaneously produced by means of different printing techniques, we describe them as either the ‘lithographed’ or the ‘engraved’ version (e.g. 29–1-Sm and 29–1a-Sm respectively).
 See OED, s.v. ‘Imprint’, definition 3a.
 According to Escudier (1862: 14), only rarely were more than 100 copies of a given impression produced in France in a single print run. A similar conclusion about the German states can be inferred from Deaville 2006: 255–288. Deaville confirms (284) that during the 15 years from 1843 to 1858 Hofmeister produced some 650 copies of Chopin’s Impromptu Op. 51, in batches of either 100 copies (4/1844 and 1/1856) or 50 copies (3/1843, 1/1850, 3/1852, 6/1853, 4/1854, 7/1855, 8/1857, 5/1858 and 9/1858), i.e. approximately 43 per year on average. His earlier research (i.e. a precursor to the above chapter, presented at the International Conference on Nineteenth-Century Music, Royal Holloway, University of London, July 2000) has shown that the average for Op. 51 over 35 years was c. 66 copies per year, while for the Rondo Op. 1 it was c. 71 copies per year over 41 years and for the four-hand version of Op. 1 c. 25 copies per year over 60 years. Both versions of the Rondo were in direct competition with the editions of A. M. Schlesinger in the same geographic area.
 Scholarly views on the use of this term diverge widely; see Krummel and Sadie 1990: 504. A considerable amount of confusion arose in the nineteenth century because what this catalogue refers to as ‘corrected reprints’ were frequently presented as or taken to be new editions, and furthermore because of ambiguous usage of the term ‘second edition’. Analysis of the title pages of Chopin editions as well as relevant press advertisements reveals that A. M. Schlesinger promoted his corrected reprint of Op. 1 as a ‘Nouvelle édition revue et corrigée’ (see comments to 1–1a-Sam), while Wessel added similar references on the TPs of Opp. 1 & 3 (see comments to 1–1-W and 3–1-W) and in a press notice concerning his corrected reprint of Op. 32 (see comments to 32–1a-W). As for Kistner, the qualification ‘nouvelle édition’ was applied to newly engraved editions of Opp. 6, 7 & 10 which retained the original plate number (see the TPs of 6–2-KI to 6–4b-KI; +7–2-KI to 7–6b-KI; 10/1-6–2-KI to 10/1-6–3b-KI; and 10/7-12–2-KI to 10/7-12–3a-KI), but oddly it was not used for those of Opp. 9 & 13. The editions of Opp. 6 & 7 (plate number 3615) and of Op. 9 (plate number 3616) that appeared in December 1870 (MlM) were each labelled as a ‘2me edition’, as against the ‘nouvelle édition’ published of Op. 8 and Op. 10 alike (featuring double plate numbers in each case). In contrast, the edition of Op. 11 (also with double plate numbers) had no such qualification. Note finally that the term ‘nouvelle édition’ wrongly figures on the TPs of two reprints of Op. 43, in which the music text remained unchanged (see 43–1e-SCHU, 43–1f-SCHU).
 Opp. 3, 8 & 65 and the Grand Duo Concertant exist in arrangements for piano and violin (see 3–1d-Ae, 65–1a-B&H, GDC–1b-Sm, GDC–1c-Sam, GDC–1b-Ae) and for piano, flute and cello (see 8–1a-W) in which the replacement of one of the original instruments led the publisher to produce an altogether new title page. However, in the arrangements of Op. 3 for piano and violin that Mechetti and Brandus published, the original TP was recycled although with a few necessary adjustments (see 3–1a-ME, 3–1a-BR&D).
 I.e. Opp. 15, 17, 24, 25–27, 30, 33, 37, 40, 41, 48, 55, 56, 62 & 63 published by B&H in separate editions within the various series described in Publications of Breitkopf & Härtel under ‘Chopin’s publishers’ in ‘Historical overview’. Reprints of Opp. 53 & 61 also appeared with the same STP.