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Issues : Accompaniment changes

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b. 247

composition: Op. 19, Bolero

 
 
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It is difficult to unequivocally prove where the difference between the pitch of the 3rd quaver in the accompaniment in FE (→EE) and GE came from. Both sources do not reveal any explicit traces of corrections. We assume that it is most likely that Chopin corrected the original (perhaps even erroneous) version of FE in GE. However, the evidence is inconclusive, hence we add a variant of the base source, FE, to the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of GE

b. 254

composition: Op. 49, Fantaisie in F minor

f-d1-a1 in A (→GE) & FE1

f-d1-b1 in FE2 (→EE)
..

The A (→GE) and FE1 version is probably Chopin's mistake – the chord is written there in bass clef, while with a greater number of ledger lines, Chopin would relatively often write one too many or one too less. This assumption is confirmed by the changes introduced at the stage of proofreading FE2 (→EE), almost certainly at Chopin's request.

category imprint: Differences between sources; Corrections & alterations

issues: Errors in the number of ledger lines , Errors of A , Accompaniment changes , Authentic corrections of FE

b. 260

composition: Op. 2, Variations, complete

No bass progression in AsI, Af & A (→GE→FESB,EE1→EE2)

D-d & C-c in FE & EE3
..

Chopin added the octave bass sequence in the 2nd half of the bar while proofreading FE1. This addition, undoubtedly drawn from FE, was also introduced into EE3. According to us, it is likely that the composer wanted this unquestionable improvement of the version for one piano to apply to the version of the piece with orchestra too (as a complement to the cellos and the double basses). A few years later, also exclusively in the version for one piano, Chopin introduced a change into the first tutti in mov. III of the Concerto in F minor, Op. 21. It is also there that we can assume that the changed text was supposed to concern the orchestral part also in the full version of the piece.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Authentic post-publication changes and variants

b. 262

composition: Op. 2, Variations, complete

Chord in AsI, FE & EE3

Supplemented FE version suggested by the editors

Chords & 'Violini' in Af

Chords &  in A

Solo part only in GE (→EE1→EE2, →FESB)
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The versions of Af and A, identical in terms of the way they sound, differ only in additions – an indication specifying the instrumental group in Af and a  in A. As was the case with the previous such insert between bars 261-262, this replica was left out by GE (→FESB,EE1→EE2). In this case, however, it is difficult to indicate the probable cause of why this edition diverts from the basis. The fact that this insert was restored to FE in the initial version proves that Chopin hesitated whether to recall a chord being the basis of the first three beats of the bar at the expense of blurring the shape of the solo part.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE

b. 263

composition: Op. 23, Ballade in G minor

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In A one can see a deleted note in the chord (b).

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A , Accompaniment changes