mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 8

composition: Op. 2, Variation IV, primitive version

Arpeggios from f1 in AsI, basic version

Arpeggios from f1 in AsI, basic version

Arpeggios from b1 & f2 in A

Arpeggios from b1 & f2 in A
..

In the 1st half of the bar (2. volta) the principal AsI version (written first, with normal-sized notes) refers to the principal version of bars 1-2 and 5-6 – the hemidemisemiquaver group does not move in parallel with the melody semiquavers. Nevertheless, this version is compatible (in an acceptable way) with both versions of the 2nd half of bar 7, hence these places can be treated independently.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 9

composition: Op. 2, Variations, complete

Quaver b1, no grace notes in AsI

Crotchet b1, grace notes in remaining sources
..

The version with the quaver b1 and without the grace notes ending the trill is written twice in AsI, in the main sequence of the score and in the first measure of the solo part, written next to the new version of the orchestral introduction. Chopin later marked the grace notes in the main sequence, but there is no indication that at this stage he also planned to extend the trill to the value of a crotchet.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 10-11

composition: Op. 28 No. 4, Prelude in E minor

Version in As

Rhythm in A (→FE→EE) & CGS

Rhythm in FC (→GE)

Rhythm in FED, possible interpretation
..

The version of As, replaced then by the final edition of those motifs, resulted from corrections itself. Their traces in the form of crossings-out are almost invisible on the available photograph; however, a comparison with similarly looking corrections in b. 18-19 suggests that in both places Chopin began with similar ideas and then changed them in a similar manner.
The change of the long grace note to a short one was an arbitrary decision of Fontana, certainly contrary to the intention of Chopin, which is particularly confirmed by the Chopinesque entry in FED, difficult to interpret as a whole, but in terms of rhythm almost certainly tantamount to the addition in b. 19, which is perfectly clear.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Main-line changes , Fontana's revisions

b. 10

composition: Op. 63 No. 1, Mazurka in B major

B-major chord on 2nd beat in AI

Diminished seventh chord in FE (→GE,EE)
..

In an earlier version, written down in AI, the entire bar is based on a B major chord, while the thirds in the melody constitute a delay. The final version replaced the melodic tension with harmonic one by introducing a diminished four-note chord as the chord leading to B major. See also bar 78.
Such a variation in subsequent versions of one place is to be found in, e.g. the Nocturne in D, Op. 27 No. 2, bar 9 (cf. also bar 33), and a variation used in subsequent phrases – in the Waltz in A, Op. 34 No. 1 in bars 25 and 29.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Main-line changes

b. 10

composition: Op. 2, Variations, complete

Dotted rhythm in AsI

4 semiquavers in AsI (alternative version) & A (→GE→FE,EE,FESB)
..

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes