mUltimate Chopin

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 8

composition: Op. 2, Variation IV, primitive version

Arpeggios from f1 in AsI, basic version

Arpeggios from f1 in AsI, basic version

Arpeggios from b1 & f2 in A

Arpeggios from b1 & f2 in A
..

In the 1st half of the bar (2. volta) the principal AsI version (written first, with normal-sized notes) refers to the principal version of bars 1-2 and 5-6 – the hemidemisemiquaver group does not move in parallel with the melody semiquavers. Nevertheless, this version is compatible (in an acceptable way) with both versions of the 2nd half of bar 7, hence these places can be treated independently.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 8

composition: Op. 63 No. 1, Mazurka in B major

Rest in AI

f crotchet in FE (→GE,EE)
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category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 9

composition: Op. 27 No 2, Nocturne in D♭ major

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Traces of erasing visible in A allow us to decipher the probable initial version of the accompaniment in that bar as: .

category imprint: Corrections & alterations

issues: Corrections in A , Accompaniment changes

b. 9-15

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

Semiquavers in CLI & FE (→GE,EE) 

Crotchets in Ap
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The articulation of the accompanying two-note chords, extended in Ap in bars 9-10 and 13-15, seems to be a one-time exclusive idea or a certain transitional phase in the shaping process of the Etude's text.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 9

composition: Op. 25 No 5, Etude in E minor

f in FC (→GE) & EE1

E in FE & EE2 (→EE3)
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Both versions of the 1st note of this bar are undoubtedly authentic, yet determining which one could have been considered final by Chopin faces major difficulties. The version with f seems to be later, as in FC one can see a correction in which the composer most probably deleted E and added f, whereas a similar correction was most probably also in the base text to EE. However, while proofreading FE later, Chopin did not introduce this change, in spite of the fact that he corrected the last chord in bar 8, positioned just next to it (1 cm). Therefore, in the main text we follow the version of the base source, i.e. FE.  

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Chopin's hesitations , Accompaniment changes , Authentic corrections of FC