The entire text of each individual title page and common title page[1] is transcribed within the main body of the catalogue, irrespective of the number of elements modified or added in later versions thereof (e.g. 1–1-HO, 1–1a-HO, 1–1b-HO, 1–1-SC, 2–1-SC). Spelling errors and other mistakes within the ITP and CTP text are enumerated in the ‘Errors’ field (e.g. 1–1-BRZ, 1–1-Sam, 9/3–1-W, 28/1-12–1c-BR), while changes made in relation to the relevant preceding impression appear under ‘Modifications’ (for example, compare 3–1-ME and 3–1a-ME, 28/1-12–1-C and 28/1-12–1b-BR). 

We deal with series title pages in two different ways according to their status and evolution. For those pertaining to one and only one catalogue entry, the text preceding and following the list of constituent works is transcribed in full, with editorial commentary added in square brackets (e.g. 28/15–1n-B&H). STPs ex­isting in multiple versions (e.g. 6–1a-W to 6–1f-W) or which appear unchanged in more than one cata­logue entry (e.g. 6/1–1g-W, 33/4–1f-W) are referred to in abbreviated fashion within the catalogue proper, generally by citing the first lines of text. Detailed descriptions of the original contents and later versions of these STPs can be found in Appendix I.[2] 

We have usually not described the borders, frames and other decorative elements present on those title pages of which digital images are readily available on the internet (users can draw their own conclusions by consulting the originals via the designated links in the text),[3] but otherwise, where relevant, a brief note has been provided in the ‘Comments’ section confirming the presence of a decorative frame or border while also indicating the disposition of text inside or outside it (e.g. 2–2-HAt, 7–6a-KI). The presence of significant decorative elements other than bor­ders or frames – e.g. portraits, busts, pictures, coats of arms, etc. – can greatly facilitate the identification of a title page, and these have been described in some detail whether or not the title page in question has been reproduced here. In such cases, verbal transcriptions are given in square brackets corresponding to the place of the given image on the TP. Examples include 23–2-B&H, MEG–1-B&B, PolG#m–1-K and the ODEON STP (in Appendix I), as well as the Austrian and Italian editions of numerous works (Opp. 2, 4, 43–45 & 50, Hexameron, and Variations on a German National Air). The presence of Breitkopf & Härtel’s printed oval logo, considered throughout this online resource to be an integral element of respective title pages, is similarly indicated (e.g. 15–2h-B&H, 20–1c-B&H). 

We have provided details of all usages of colour (e.g. 6–1-KI, 7–1-KI, 44–1-ME, 66–1-EW), including the various colours found on polychrome TPs (e.g. Posth–1-MEIf). These descriptions will be especially useful in the case of TPs of which digital images are not available on the internet (e.g. 45–1a-ME). 

The contents of album title pages have been transcribed for those works of Chopin published without their own TPs either in albums or in the Méthode des Méthodes of Fétis and Moscheles (e.g. 23–2-B&H, 33/1&2–1a-B&H, 45–1-Sm, 50/1–2-Sm, 62/2–1a-BR, 64/1–1a-BR, MFM–1-E, MFM–1-SCH, MM–0-Sm). In the case of pieces brought out within a volume which could also have been sold separately and thus have their own ‘internal’ TPs, we regard the latter as the principal TP of the work(s) in question, although the con­tents of the volume TP and of other constituent parts are nevertheless specified in the ‘Comments’ section (e.g. MM–1-Sm, MM–1-Sam). A similar approach has been taken for pieces pub­lished in albums with their own TPs; that is, we offer a transcription of the ATP under ‘Comments’ (e.g. 32/1–1-Sam, 45–1-ME) but treat the title page specific to the particular Chopin work(s) as the principal one. In a few exceptional cases, ATP transcriptions are provided under ‘Copies’ either because another exemplar with the same edition/‌im­pression code exists as a separate publication (e.g. 32/2–1-Sam, MEG–1-CH) or as a result of differences between the ATP contents of two or more copies which are classified together (e.g. MEG–1a-CH). The range of colour is fully indicated for all poly­chrome ATPs (e.g. 32/1–1-Sam, 45–1-ME, 62/2–1a-BR, 64/1–1a-BR).

[1] The text of TPs, half-titles, headlines, caption titles, sub-captions, footlines, covers, and certain stamps and labels is given in quasi-facsimile transcription, the basic principles of which are discussed in Policies on quasi-facsimile transcription.

[2] See the introductory texts to Appendices for further discussion of the method used to describe STPs and advts.

[3] The few exceptions are indicated in the discussion of our policies on quasi-facsimile transcription (see the eponymous section).