Issues : Chopin's hesitations
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b. 1
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composition: Op. 24 No. 3, Mazurka in A♭ major
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In A (→GE→FE→EE) Chopin changed the R.H. rhythm in comparison to the AI version. Scrapings visible in A show that Chopin considered even a double dotted rhythm: the last d category imprint: Differences between sources; Corrections & alterations issues: Corrections in A , Chopin's hesitations |
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b. 1-8
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composition: Op. 10 No 2, Etude in A minor
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The crotchets in bars 1-2 and 5-8 constitute a significant change of the concept in Ap in the scope of the Etude's technical problems and its sound image (cf. the characteristic of Ap). As the version does not appear in any of the sources related to the publication of the piece – neither in CLI nor in FE (→GE,EE) – it seems that the prolonged articulation of the accompanying two-note chords appeared only as a transitional phase in the shaping process of the Etude's text or – which, according to us, is more plausible – as a one-time exclusive idea. See also the remark concerning bars 3-4. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
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b. 1
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composition: Op. 25 No 2, Etude in F minor
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The version of CDP may be a mistake – the copyist could have, e.g., misinterpret the extension of the phrase slur in [A]. However, it cannot be excluded that it is an authentic version, as the slur could have been included in [A], where Chopin deleted it afterwards. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 1
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composition: Op. 25 No 9, Etude in G♭ major
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All three source indications of the tempo-character are almost certainly authentic (vivace and assai – certainly, non tanto – highly likely). It means that Chopin changed his mind on this issue at least twice, yet the order of the changes is unknown – we only know that assai is later than vivace, as in GC there is a relevant correction. Chopin's hesitation concerned rather terminology than the actual tempo of the Etude, as the later added metronome tempo is the same for all three indications. The choice of one of them is then of a minor practical meaning. In the main text we give assai, with which Chopin replaced vivace, which seems to correspond better to the fast (for the rhythm and texture used in the Etude) tempo indicated by the metronome. category imprint: Differences between sources; Corrections & alterations |
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b. 1
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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AI is devoid of tempo markings. Generally, there are barely 3 verbal indications in the entire AI: The crossings-out visible in AF over the beginning of the piece prove that Chopin was looking for the best indication of its tempo and character, just like in both previous Mazurkas. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A |
2 was written as a semiquaver following a crotchet with two dots.
in b. 17 and 89 and 
in b. 191; therefore, Chopin apparently abandoned writing more detailed performance indications when it turned out that this autograph would not be a Stichvorlage. Due to the above reason, both here and hereinafter we generally indicate the absence of indications in