mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 85-87

composition: Op. 50 No. 3, Mazurka in C♯ minor

Crotchets in AI

Quavers in AF (→FE→EE) & GE
..

The melodic variants in b. 85 and 87 of the motif opening the majority of the phrases of this theme were introduced only just at the stage of writing Stichvorlage autographs. Such a diversification of recurring motifs is typical of Chopin and would frequently appear in the final stages of shaping particular pieces, cf., e.g. the Mazurka in G Minor, Op. 24 No. 1, b. 57 and 59.
The layout of the melody's notes in b. 85 in AF shows that the a1 quaver was added there to the g1 note, which was initially a crotchet. At the same time, Chopin forgot about the  before this note, which was corrected in FE (→EE).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Main-line changes

b. 86

composition: Op. 63 No. 1, Mazurka in B major

g2 & g1-c2 in AI

c2-g2 & g1 in FE1 (→GE)

c2-g2 & a1 in FE1 (→GE)
..

In AI, as in bar 84, Chopin wrote 2 versions of the 1st and 2nd beats of the bar consecutively. The one he did not delete was then replaced by the FE1 version (→GE). As far as the change of the g1 semiquaver to a1 in the proofreading of FE2 is concerned, taking into account the earlier changes, one can have doubts whether it corresponded to Chopin's intention. The aim of the proofreading was the addition of a grace note, and this required the semiquaver to be moved to make room for the added note. Practically, such a 'shift' means that a note has to be removed and then re-inserted in a different place, which provides an opportunity for mistake. Therefore, we do not include this change in the main text; however, we consider it an equal variant.

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

issues: Errors resulting from corrections , Accompaniment changes , Authentic corrections of FE , Main-line changes

b. 88-90

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

..

In FCI the R.H. part consists of two voices – the 3-bar-long a1 note and the accompanying quaver voice, which differs from the quavers in the final version only in the missing 1st quaver in b. 88.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 89

composition: Op. 64 No 2, Waltz in C♯ minor

As

AI

A (→FE→GE,EE)
..

Both in As and AI Chopin diversified this bar with respect to the version of bar 73 (differently in each of them). In A (→FE→GE,EE), bars 73 and 89 are identical, which, in the face of differences in the previous bars, does not create an impression of homogeneity at all. In turn, the version introduces a clear division between the phrases, absent in the earlier versions.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 93

composition: Op. 21, Concerto in F minor, Mvt I

..

Traces of erasures and concentration of the notes visible in A in the 2nd half of the roulade prove the fact it was being extended at the time A was written. According to us, originally the group included 15 notes and its 2nd half was the same as in bar 85.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Main-line changes