Issues : Chopin's hesitations
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b. 73-74
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composition: Op. 64 No 1, Waltz in D♭ major
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Same as the four-bar introduction, also the eight-bar link before the reprise was materialised only at the stage of presentation autographs. Its second part, after the trill, features the most original, as it seems, form in AII. If the chronology of the autographs proposed on the basis of comparison of the texts is correct, it would imply Chopin's hesitation. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 75-76
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composition: Op. 64 No 2, Waltz in C♯ minor
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Three versions of the accompaniment prove that Chopin would be looking for the best harmonic and rhythmic formula for these bars. The process lasted until the last moment, since the version adopted in the main text, with a sustained chord, was introduced by the composer only in the final stage of proofreading of FE (→EE). He also hesitated – in A one can see deletions proving several corrections whose final result was a version identical with the original one, written in As, whereas AI has a different text too. category imprint: Differences between sources; Corrections & alterations |
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b. 77-78
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composition: Op. 64 No 1, Waltz in D♭ major
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In the part of the L.H. in As only the first two crotchets in bar 77 are written out. It most probably means that the remaining four are to be completed after bars 5-6 (according to the numbering of the final version). In the presentation autographs one can see Chopin's hesitation, as far as the first crotchet in each of these bars is concerned; the version of AI is the most distant from the final version. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations |
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b. 79-80
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composition: Op. 63 No. 1, Mazurka in B major
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It is difficult to say whether the shorter slur of AI defines an actual variant of articulation of this motif or – which, according to us, is more likely – whether it is inaccurate or erroneous (e.g. written with bar 81 in mind). The additional, short slur in FE (→GE1,EE) is most probably a mistake, perhaps caused by unclear notation of [A] (e.g. a correction to the rhythm and slurring present in AI two bars later). Its presence next to the longer, undoubtedly correct slur therefore probably resulted from the fact that the engraver did not finish implementing the corrections Chopin introduced while proofreading FE1 (the engraver added the correct slur, but did not remove the erroneous one). The shorter slur was considered erroneous and omitted also in GE2 (→GE3). category imprint: Differences between sources; Corrections & alterations issues: Errors in FE , Chopin's hesitations , GE revisions , Errors repeated in GE , Errors repeated in EE |
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b. 79
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composition: Op. 2, Variations, complete
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It is difficult to assume that the removal of the repeat sign for b. 79-95 was not consulted with Chopin. However, the issue is generally obscure, since A is the only source in which the repeat sign was marked – it is absent both in AsI and in the orchestral material GEorch (→FEorch). Therefore, if the repeat signs are not a mistake, at some point Chopin considered expanding the Theme by 16 bars to eventually, after having sent A to the publisher, return to the initial concept. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Authentic corrections of GE , Changed phrase length |
& g
2-a
2-e
