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Issues : Accompaniment changes

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b. 218

composition: Op. 49, Fantaisie in F minor

Dotted minim in A (→GE)

Minim & crotchet in FE (→EE)
..

Both source versions must be authentic, and both resulted from corrections:

  • in A Chopin initially wrote the following version: , in which he then crossed out both crotchets on the 3rd beat of the bar and added dots prolonging the minims;
  • the FE version resulted from the final A version, which is confirmed by traces of performing corrections in print, visible in some copies, in particular the trace of the dot prolonging the a minim.

In this situation in the main text we give the FE version, having resulted from Chopin's most mature reflection; he eventually opted for the same version as in bar 202. 

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Deletions in A , Accompaniment changes , Authentic corrections of FE

b. 224

composition: Op. 44, Polonaise in F♯ minor

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On the 2nd and 3rd beats of the bar one can see corrections of the bottom R.H. notes in AImaz the result of which is not entirely clear. The crotchet on the 2nd beat could be interpreted as d2-a2 or c2-a2, since it is uncertain whether Chopin was changing c2 to d2 or the other way around. According to us, it is the former that is more likely, which is indicated by the correction of the next crotchet, in which c2 was changed to c2. Therefore, it is likely that Chopin initially wrote down the same harmonic sequence as in the next bar (c2-a2 and c2-a2), only to later raise both bottom notes, which resulted in d2-a2 and c2-a2. The text of the Polonaise reveals that Chopin eventually abandoned that diversification.

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

issues: Accompaniment changes

b. 226-227

composition: Op. 44, Polonaise in F♯ minor

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The initial version of the 3rd beat of b. 226 and of entire b. 227 written down in AImaz as well as the changes introduced to it are discussed in the note to b. 168.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Main-line changes

b. 228-230

composition: Op. 44, Polonaise in F♯ minor

..

In AImaz the bass line is led an octave higher – f-B-e.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Bass register changes

b. 228-230

composition: Op. 44, Polonaise in F♯ minor

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In AImaz the harmonic filling in b. 228 – crotchet on the 2nd beat of the bar – is written down as a minim. In b. 229 on the 3rd beat of the bar there is a crotchet instead of a L.H. rest. In b. 230 the L.H. part rhythm is the same as in the final version in b. 171, while in the R.H. part a1 is repeated on the 3rd beat of the bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes