mUltimate Chopin

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 4

composition: Op. 25 No 7, Etude in C♯ minor

Double-dotted rhythm in GC (→GE) & EE

Single-dotted rhythm in FE
..

One cannot see traces of performing changes in the rhythm of the top voice in the preserved sources. Moreover, it does not seem that one of the versions could have been erroneous; it is particularly excluded in the case of the rhythm of GC (→GE) and EE, confirmed by the compatible version of all sources in analogous bar 48. Therefore, it seems that the original single dotted rhythm, preserved in FE, was changed by Chopin into the double dotted rhythm in the base text to EE, from where it was copied to GC.

category imprint: Differences between sources

issues: Accompaniment changes , Dotted or even rhythm

b. 4

composition: Op. 25 No 9, Etude in G♭ major

c1-d1-f1 in GC (→GE) & EE

a-c1-f1 in FE
..

The version of FE is earlier – in GC one can see a correction, in which a was deleted, while d1 probably added. A similar change might have been introduced to the base text to EE. According to us, both versions are stylistically more or less equal, and ten years later Chopin did not see a reason to change the original version in pupil's copies.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections in GC

b. 4-11

composition: Op. 63 No. 2, Mazurka in F minor

f in As

F in FE (→GE,EE)
..

Moving basses in similar contexts an octave lower (and sometimes replacing them with octaves) is one of the most frequent changes introduced by Chopin while refining already shaped, yet not completely ready musical ideas. See also bar 11.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Bass register changes

b. 4

composition: Op. 2, Variation IV, primitive version

e4, d4, c4 in AsI, total interpretation

e4, d4, c4 in AsI, total interpretation

e4, d4, c4 in AsI, probable basic version (no grace notes)

e4, d4, c4 in AsI, probable basic version (no grace notes)

3 times f3 in A

3 times f3 in A
..

This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best.
Moreover, both manuscripts differ slightly in the version of the 2nd and 4th L.H. figures – see the note below.  

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes

b. 4

composition: Op. 2, Variation IV, primitive version

e1-c1-a & f1-e1-c1 in AsI

f1-e1-c1 & f1-c1-a in A
..

Chopin was gradually reaching the satisfying pitch of the three topmost notes in the 2nd and 4th L.H. figures. In this bar, both AsI figures differ from the A version, but in analogous bar 20 it is only the 4th figure that is different, and the 2nd figure is identical in both manuscripts.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes