mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 26

composition: Op. 28 No. 24, Prelude in D minor

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The crossings-out visible in A reveal that the initial motif of this phrase (from c1 to b1) was initially provided with shorter slurs, adjusted to the earlier rhythmic version. The a1 quaver and the c2 semiquaver were separated by a semiquaver rest (as it is in b. 8), and the slurs encompassed three notes before the rest and two after the rest.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 27

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

e in chords in As

No e in remaining sources
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The present in As e notes in the chords on the 2nd and 3rd beat of the bar do not appear in any of the later sources. It cannot be excluded that writing the remaining three components of these chords in bold type de facto meant a planned resignation from these sounds already at the stage of working on As. It is even more likely considering the fact that in the sketch one can see the change of the 4th quaver in the R.H. from g1 to e1, which most probably determined the deletion of e from the accompaniment.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 27

composition: Op. 2, Variations, complete

Grace note &  in AsI

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

issues: Main-line changes

b. 28

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

CLI version, interpretation

Ap & FE (→GE,EE) 
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The different version of CLI is one of two examples of the melodic line's change in this Etude at the time of refining the piece. Ap has the final version, which was also written in the base text for FE.

category imprint: Differences between sources

issues: Accompaniment changes , Main-line changes

b. 28

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

b1 in As

a1 with  in FE (→GE,EE)
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It is unclear whether the different version of the beginning of the bar – b1 without an ornament as the 1st R.H. note – is an actual variant or simply an inaccurate record of the sketched melody (cf. bar 26).

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Main-line changes