mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 21-23

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

6 notes in As

7 notes in remaining sources
..

The part of the R.H. in bars 21 and 23 is written in As in two versions of an unidentified purpose. In the suggested reconstruction of the sketch we place the original, six-quaver version for the first time (bars 21 and 23), whereas the later, which starting from the presentation autographs became the only one, for the second time (bars 29 and 31).

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 21

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

f1-g1 in As

e1-f1 in FE (→GE,EE)
..

As includes in this bar only the two R.H. melody notes, which we interpret as an indication that it is the accompanying voices from bar 17 that should be repeated here (see next comment). One can also see that initially Chopin probably wanted to repeat the version of that bar in the melody too – the minim that opens the bar was first written as e1. While preparing the Mazurka for print the composer eventually discarded the notion of diversifying the melody in this bar and maintained a strict analogy with the previous phrase.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Main-line changes

b. 22

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

g2 in As

b2 in remaining sources
..

In the version of As, with g2 as the last quaver, the parts of the R.H. in bars 21 and 22 are identical. The version of the remaining sources is a clear enhancement here.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 22

composition: Op. 28 No. 16, Prelude in B♭ minor

..

In A there was initially a  before the 5th semiquaver, which, together with the  before the 7th note, would result in the following sequence, in which the 5th, 8th and 10th notes would be c2: .
In the next bar, when the subsequent seven semiquavers (counting from g1) are repeated an octave higher, there are no traces of changes – the final version was entered straight away.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 23-24

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

Dotted rhythm in As

Minim in FE (→GE,EE)
..

The As version with a dotted rhythm in the upper voice was most likely changed by Chopin already in [A] (→FE→GE,EE). However, in bar 24, the first note (g1) was probably remade from a minim to a dotted crotchet, which means that in this bar Chopin changed his mind twice, ultimately returning to the first idea (minim).

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Main-line changes