mUltimate Chopin

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Issues : Accompaniment changes

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b. 11

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

a in chords in As, AI, AII & AIII

No a in A (→FE→GE,EE)
..

In the previous autographs, the bar is an exact repetition of bar 9.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 11-17

composition: Op. 28 No. 15, Prelude in D♭ major

..

In A one can see that Chopin was reducing the range of the accompanying figures in b. 11 and 17. In particular, he moved the bass note in the 2nd half of b. 11 an octave higher: , while in b. 17, which was initially identical to b. 15, he replaced both bass F notes with dyads in the middle register.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 11-16

composition: Op. 28 No. 17, Prelude in A♭ major

..

These bars are marked in FCI in an abridged manner as a repetition of b. 3-8. The version of this fragment (appearing twice) differs both from b. 3-8 and 11-16 of the final version; however, the differences concern textural issues only – position and density of chords as well as assignment of notes to the right or left hand.

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

issues: Accompaniment changes

b. 11

composition: Op. 2, Variation IV, primitive version

3rd note b in AsI

3rd note g in A
..

In AsI the 3rd hemidemisemiquaver in each group is b. However, the manuscript bears traces of hesitation with respect to the pitch of these groups – in three of them, over the 4th note (c) one can see an added notehead of a g note, crossed out in the 1st and 3rd groups. Therefore, it seems that Chopin pondered replacing the final c note with g, yet he gave up on the idea. The A text, in which g replaced not the 4th, but the 3rd note in the passages (b) would mean that Chopin changed the 2nd pair of hemidemisemiquavers in these figures 3 times – he started from b-c, which he changed to b-g, then he returned to initial b-c, to eventually change them to g-c.

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

issues: Chopin's hesitations , Accompaniment changes , Corrections of AI

b. 11

composition: Op. 2, Variations, complete

Arpeggio signs in AsI

Grace note in AsI, alternative version

 

No ornaments in A (→GE→FE,EE)
..

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

issues: Accompaniment changes