mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 12

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

e2 in As

e2 in FE (→GE,EE)
..

Chopin's omission of accidentals defining the alteration occurred only exceptionally, so the lack of an accidental before the last quaver in As, which makes it an e2, is probably an earlier version.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 12

composition: Op. 2, Variation IV, primitive version

Divergent arpeggio in AsI

Divergent arpeggio in AsI

Convergent arpeggio in A

Convergent arpeggio in A
..

In AsI Chopin continues the principal scheme of contrary motion passages one quaver longer. In A version, Chopin made the arrangement of the figures in this bar look like in bar 8.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 12

composition: Op. 2, Variation IV, primitive version

Arpeggios from G to g & from d3 to b1 in AsI, basic version

Arpeggios from G to g & from d3 to b1 in AsI, basic version

Arpeggios from F to d1 & from d3 to f1 in A

Arpeggios from F to d1 & from d3 to f1 in A
..

The principal AsI version (normal-sized notes, on main staves) clearly deviates in terms of interval structure and hand position from the otherwise prevailing figuration scheme. This could have been the reason for the addition of an alternative version, which became the mandatory model already in the stage of writing A. See also bar 13.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 13-14

composition: Op. 64 No 1, Waltz in D♭ major

Minim & quavers in As

Quavers in AI & A (→FE→GE,EE)

Triplet & quavers in AII & AIII
..

The earlier autographs prove Chopin's ongoing quest concerning the smartest and most suggestive formula for the idea of a thread unfolding from a spinning ball. The idea – according to the testimony of Wilhelm von Lenz* – was suggested to the pupils by Chopin himself, using the words "it should be unfolding as [a thread] from a ball". Only in the final version, the melody, both in bars 5-7 and 13-15, has a homogeneous, smoothly "unfolding" form, without less or more evident sustentions (as it is in As and AI) or references to the initial phase of creation of an ostinato, spinning figure (as it is in AII and AIII).

* W. von Lenz, Uebersichtliche Beurtheilung der Pianoforte-Kompositionen von Chopin [...], "Neue Berliner Musikzeitung" 18 IX 1872.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Main-line changes

b. 13

composition: WN 37, Lento con gran espressione

4 notes in A1, CK (→CB) & EL

3 notes in CJ
..

The arguments for adopting the version of CJ as the principal one are as follows:

  • the very "Chopinesque" differentiation between three analogous b. 5, 13 and 46 – the ending of the trill consists in them of 2, 3 and 4 notes, respectively (cf. the reverse change, i.e. addition of a note in the ending of the run in b. 52);
  • a possibility of Kolberg's revision in CK – the g2 note could have been added later, which is indicated by the spaces between the notes (cf. the notation of b. 46 in this manuscript).

The version of the remaining sources can be considered an equal variant, particularly since it cannot be ruled out that in spite of the awkward layout, it was Kolberg that faithfully copied [A2] and Ludwika that committed a mistake.
In CB the grace notes are written as small semiquavers.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes , Errors of JC , Kolberg's revisions , Balakirev's revisions