mUltimate Chopin

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Issues : Chopin's hesitations

b. 11-12

composition: Op. 10 No 2, Etude in A minor

Semiquavers in CLI & FE (→GE,EE) 

Semiquavers & crotchets in Ap
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In Ap the rhythmic values of the subsequent two-note chords in the lower voice of the R.H. constitute an alternating short-long (semiquaver-crotchet) scheme in these bars. Moreover, the contrast of the resounding's length is underlined with accents here and there. In the main text we give the homogeneous version of FE (→GE,EE), as far as the sound is concerned.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 11-13

composition: Op. 28 No. 2, Prelude in A minor

..

In As one can see traces of corrections of the bottom note of the 2nd quaver in the 1st L.H. group in b. 11 and 13 and in the 2nd group in b. 12 (the remaining three groups of quavers are not written out in those bars). Chopin hesitated whether to write it as c or d. According to us, the corrections resulted in d in b. 11-12 and c in b. 13, and this is the notation we give as the text of As. It is worth noting that in both groups in b. 14 c was the first choice, hence it was not a result of corrections. In addition, while preparing a clean draft, Chopin opted for c in all those places.

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations

b. 11

composition: Op. 2, Variation IV, primitive version

3rd note b in AsI

3rd note g in A
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In AsI the 3rd hemidemisemiquaver in each group is b. However, the manuscript bears traces of hesitation with respect to the pitch of these groups – in three of them, over the 4th note (c) one can see an added notehead of a g note, crossed out in the 1st and 3rd groups. Therefore, it seems that Chopin pondered replacing the final c note with g, yet he gave up on the idea. The A text, in which g replaced not the 4th, but the 3rd note in the passages (b) would mean that Chopin changed the 2nd pair of hemidemisemiquavers in these figures 3 times – he started from b-c, which he changed to b-g, then he returned to initial b-c, to eventually change them to g-c.

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

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

b. 12

composition: Op. 24 No. 3, Mazurka in A♭ major

A double bar line in AI

No line in A (→GE→FE→EE)
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In AI, there is a double bar line before the 3rd beat of the bar. No such line, separating a new section of the Mazurka beginning here, is to be found in A (→GE→FE→EE).

category imprint: Differences between sources

issues: Chopin's hesitations

b. 12

composition: Op. 10 No 2, Etude in A minor

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category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations