Issues : Main-line changes
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b. 151
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composition: Op. 38, Ballade in F major
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Visible in A are traces of a correction of the L.H. motif which originally sounded: category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Main-line changes |
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b. 173
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composition: Op. 23, Ballade in G minor
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We consider the grace note in FE (→GE,EE) the latest authentic version, although it seems that the mordent present in A was not being removed at the stage of proofreading. No traces of corrections in print suggests that the engraver of FE omitted the ornament, and Chopin simply added a grace note while proofreading FE. Therefore, the deletions in A prove that the composer hesitated, since it was the grace note that was removed there and replaced with a mordent. In this situation, both versions may be considered equal variants. Similar variations are to be found in other pieces by the composer, e.g. in the Ballade in A category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: Corrections in A , Chopin's hesitations , Deletions in A , Authentic corrections of FE , Main-line changes |
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b. 173
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composition: Op. 2, Variations, complete
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Chopin added the mordent over the 1st note while proofreading FE. An ornament – category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE , Main-line changes |
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b. 175
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composition: Op. 2, Variations, complete
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The version of AsI fairly corresponds to the orchestral version, in which the 2nd and 3rd quavers are almost (in AsI) or completely (in the printed voices) identical, as far as the pitch is concerned. It was also in A (→GE→EE,FESB) that Chopin only complemented the R.H. chords. The proofreading of FE – undoubtedly Chopinesque – brought about a major change, and this is the version (the latest one) we give in the main text. An alternative proposal, analogous to the endings of Variation I and Variation III, takes into account a possible misunderstanding in implementing the proofreading corrections. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Authentic corrections of FE , Main-line changes |
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b. 176
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composition: Op. 2, Variations, complete
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In AsI the 2nd half of the bar most probably had 3 versions, out of which we give the earliest, written down in regular script, as the text of this manuscript (it is compliant with the version of the remaining sources). According to us, the text added then in a smaller, draft-like script contains a version used in the remaining sources in b. 180 and 192 and its earlier edition, written down as if they created one version. The existence of two editions of this melodic and rhythmic idea is indicated by the different size of noteheads and by the record, suggesting replacing smaller notes with slightly bigger ones (yet still smaller than in the initial record). category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information issues: Chopin's hesitations , Accompaniment changes , Main-line changes |
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, Op. 47, b. 3 and 39 or the Mazurka in C minor, Op. 30 No. 1, b. 1, 5 and 9, 13.
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