mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 134-135

composition: Op. 23, Ballade in G minor

Figuration from c4 in A

Figuration from b3 in FE (→GE,EE)
..

The version introduced at the stage of proofreading FE (→GE,EE), certainly by Chopin, is definitely an improvement – the connection with the previous bar is smoother, while the shape of the applied motif refers to b. 126-129. The notation of A does not include any of the two necessary flats to a3.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Omission of current key accidentals , Authentic corrections of FE , Main-line changes , Inaccuracies in A

b. 137

composition: Op. 23, Ballade in G minor

a3 in A

a3 in FE (→GE,EE)
..

It must have been Chopin who removed the natural to the 5th quaver while proofreading FE (→GE,EE). This is the second correction at this point – in A one can see that the next note was also changed, most likely from g3 to f3. Therefore, the last two notes of the first half of the bar were, in chronological order, a3-g3, a3-f3, and a3-f3.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes

b. 140

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

a1-e1-d1 in AI

b1-a1-e1 in AF (→FE→EE) & GE
..

The version of AI is the initial one and was then changed, most probably at the time when the R.H. top voice was being added.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 143

composition: Op. 44, Polonaise in F♯ minor

d2-c2 in GE

Tied d2 in FE (→EE)
..

The delay of the resolution of the d2 seventh is an improvement Chopin introduced while proofreading FE (→EE). A similar situation can be found in b. 163.
See also bars 201-202.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes

b. 145-146

composition: Op. 22, Polonaise

..

The traces of removal of rests and demisemiquaver beams, visible in FE, show that every other semiquaver was initially a demisemiquaver preceded by a rest: . In the corrected version, the variants of the rhythm including demisemiquavers are introduced gradually, which makes this sequence more varied and related to the harmonic changes.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE , Main-line changes