The TPs of successive French impressions of Chopin’s music evolved to a much lesser extent than their German counterparts. Engraved plates were used to produce the title page as well as the music text of most French editions, and their physical durability largely explains the relative lack of changes in later reprints. Indeed, with only two exceptions, each and every reprint of a French edition – even those published after a change of owner – retained the original title page, though sometimes with minor modifications. The most frequent of these were increases or decreases in price. On four title pages the dedication was re-engraved (see Opp. 13, 52–54), while on another the number of pieces was modified (6–1a-Sm). Other modifications include removal of the names of foreign publishers (10–1d-LE, 12–1a-LE, 16–1b-Sm, 18–1b-LE, 25–1b-LE), the engraver’s initials (10–1d-LE) or the copyright notice (18–1b-LE). Certain changes in ownership resulted in updates to the publisher’s name and address and to the plate number (10–1d-LE, 12–1a-LE, 16–1b-Sm, 17–1a-Sm, 18–1b-LE, 25–1b-LE, 28/1-12–1c-BR). After acquiring the lists of Schlesinger and Troupenas, however, Brandus modified the original name and address on the TPs of very few of his predecessors’ editions,[1] either because he thought it unnecessary or owing to financial constraints. The latter may also explain why the original TPs were recycled in Brandus’ second edition of the Mazurkas Op. 7 and Waltz Op. 64 No. 1 (see 7–2-BR, 64–2-BRD&C). But for a reprint of the Nocturnes Op. 9 from the early 1850s, Brandus went to the trouble of producing an entirely new TP (9–1c-BR), as Chabal had previously done in the case of the Mazurka dedicated to Emile Gaillard (MEG–1b-CH).

In certain instances a common title page was put to use for different works or discrete parts thereof – namely, in the Preludes Op. 28 and Nocturnes Op. 48 (divided into two volumes), and in the Rondos Opp. 1 & 5 and Variations Op. 2 published by Schonenberger as ‘3 MORCEAUX Favoris’ (see 1–1-SC, 2–1-SC, 5–1-SC). A true passe-partout exists in the Posthumous Works released by J. Meissonnier fils (Compagnie Musicale, E. Gérard et Cie), in the ‘EO’ series created by G. Brandus et S. Dufour (G. Brandus et Cie, Brandus et Cie, Ph. Maquet), in Hamelle’s separate editions of Op. 74 (see 74–1g-H, 74–1h-H, 74–2-H) and in Joubert’s reprint of Hexameron (see HEX–1a-J).

[1] The change was made in the following reprints: 3–1a-BR&D, 11–1c-BR, 13–1c-BR&D, 14–1b-BR, 21–1c-BR, 22–1c-BR, 31–1a-BR, 37–1d-BR, MM–2a-BR.