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Issues : Chopin's hesitations

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

b. 24

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

Minim d1 & 2 crotchets in As

Crotchet d1 & 2 crotchets in AI

Minim d1 & crotchet in AII

Crotchet d1 & crotchet in AIII

Crotchet d & sixth in A (→FE→GE,EE)

Crotchet d, sixth & chord in As, alternative version, probable interpretation

Crotchet d & 2 sixths in As, alternative version, possible interpretation

Crotchet d, sixth & crotchet d in As, another alternative version
..

The bar has a different form in each of the previous autographs. The differences concern the rhythmic value of the first d1 and the crotchet – or its absence – on the 3rd beat of the bar. The given variants (the first four) cannot be combined with the main text in the note to bars 21-24, i.e. the version of these bars included in A (→FE→GE,EE). In turn, the last four variants given here apply to that version – the main text (conveyed by A and the editions) and alternative versions written in the first scheme of As (see the next note). On the other hand, the variants cannot be combined with the version of bars 21-24 included in the previous autographs.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 24

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

..

In the sequence including the final version of the L.H. in bars 21-24 As has a g-b-f1 chord on the 3rd beat of bar 24. It is undoubtedly an inaccuracy, however, it is not entirely clear what Chopin intention was:

  • an a-b-f1 chord;
  • an a-f1 sixth – the g note could have been written as an inaccurate "correction" of the erroneous b.

Moreover, after the discussed crotchet Chopin wrote a small crotchet d. It is probably another alternative version of the 3rd beat of the bar in this version of accompaniment.

The variants resulting from the above analysis of As are given in the previous note.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Accompaniment changes

b. 25

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

A, FE (→EE1), GET

GE and EE3
..

In A, the third, sixth and ninth semiquavers form a tenor line e flat-d flat-c. That detail was not repeated in GE, which has e flat in all those places. In the proofing of FE (→EE1) Chopin returned to the version of A, the relevant change was also made in GET. The version of GE was introduced into EE3.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , EE revisions , Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE , Annotations in GET

b. 25

composition: Op. 24 No. 3, Mazurka in A♭ major

The rhythm in AI

The rhythm in A (→GE→FE→EE)
..

The even crotchets in AI are probably an original version of rhythm in this bar.

category imprint: Corrections & alterations

issues: Chopin's hesitations