Complete Piano Repertoire
The list is mostly complete to my knowledge.
If there are any pieces(particularly major ones),
please let me know by e-mail at email@example.com.
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
Num 2 in FM, Op 38
Num 3 in Ab, Op 47
Num 4 in F, Op 52
Scherzos Go back to Section listing
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 1 in Bm, Op 20
- Num 2 in Bbm, Op 31
Num 3 in C#m, Op 39
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 4 in EM, Op 54
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.
Impromptus Go back to Section listing
- Num 1 in cm, Op 1
- Num 2 in FM, Op 5
- Num 3 in EbM, Op 16
- 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.
- Op 10, No 1-11
- Op 10, No 12
Op 25, No 1-12
Trois Nouvelles Etudes, No 1-3
The "Revolutionary Etude" keeps the left hand very busy, but the
right hand must dominate with fiery and dramatic statements.
- Op 28, No 1,2,4-19,21-24
- Op 28, No 3 in G
Op 28, No 20 in cm
Etude-like, combines virtuoso light left-hand running accompanimental
figuration with a legato right-hand melody. Evenness is a problem.
Op 45, C#m
Postumous in AbM
Waltzes Go back to Section listing
Massive and majectic chords dissolve to tranquil calm.
Chopin originally ended this piece at bar 9; a grand chorale
- Op 18 (Grande Valse Brillante)
- Op 34, No 1
- Op 34, No 2
Op 34, No 3
Op 64, No 1
A slow expressive type; opening theme cello-like.
Op 64, No 2-3
Op 69, No 1-2
Op 64, No 1 in Eb(Valse Brillante)
Op 64, No 2 in C#m
Polonaises Go back to Section listing
The "Minute" Waltz.
Op 26, No 2
Op 40, No 1
Bold opening figure keeps returning in a piece that is mainly
lyric in character. Tuneful theme in Db is laced with chromatic
Op 40, No 2
This "Military Polonaise" requires rhythmic chord playing and is usually
played too fast.
Polonaise-Fantasie Op 61
Op 71, No 1-3
Andante Spianato and Grand Polonaise in EbM, Op 22
21 Nocturnes Go back to Section listing
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.
Op 9, No 2
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 3
Op 15, No 1
The shortest and one of the most popular of the nocturnes.
Graceful but not too difficult.
Op 15, No 2
Op 15, No 3
Tranquil cantilena opening section with some daring harmony.
Turbulent mid-section requires a powerful left hand.
Op 27, No 1-2
Op 32, No 1-2
Op 37, No 1-2
Op 48, No 1-2
Op 55, No 1
Lighter in substance and one of the easier nocturnes. Exploits
legato chord playing in the second half; another fine coda.
Op 55, No 2
Op 62, No 1-2
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.
Nocturne in C#m(no Op - 1830)
Nocturne in Cm (no Op - 1837)
57 Mazurkas - only 47 listed Go back to Section listing
Sustained cantabile opening and closing sections; florid and
passionate version of the main theme provides the mid-section.
Straightforward and not too difficult.
- Op 6, No 1-4
- Op 7, No 1-5
- Op 17, No 1-3
- Op 17, No 4
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
Lydian mode; plaintive melody that ends in the air on an inverted
triad; drone bass
- No 1 in c for Piano
- No 2 in Bbm for Piano
- No 3 in Bm for Piano
- 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)