Some used it in a very erratic manner or were subject to the wishes of their publishers, who for commercial reasons often presented works with opus numbers that bore little relationship to their place in the chronological sequence of the composer's works.Some composers gave opus numbers to some of their early compositions but abandoned the practice after some time (examples include Liszt and Hindemith). Some composers used it for certain genres of music but not for others (for example, in Händel's time, it was normal to apply opus numbers to instrumental compositions but not to vocal compositions such as operas, oratorios, etc.).Very few composers gave opus numbers to all of their published works without exception: While the opus numbering system has long been the standard manner in which individual compositions are identified and referenced, it is far from universal, and there have been many different applications of the system.
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