mUltimate Chopin

Text Compare Notes Sources Description

Issues : Corrections of AI

b. 20-24

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

Quavers & rests in AI & AF (→FE→EE)

Crotchets in GE
..

In b. 20 and 24, AI initially contained the original concept of the L.H. part:  and .
Chopin then crossed out the rests and the semiquavers and replaced them with quaver rests, which is preserved in AF (→FE→EE). The notation of GE, in which Chopin simplified it even more, seems to be the latest in this situation. The conclusion is confirmed by analogous b. 112 and 116, in which all sources feature crotchets only.

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

issues: Corrections of AI

b. 20

composition: Op. 2, Variation IV, primitive version

e1-c1 & a1-c2 in AsI

d1-b & b1-d2 in A
..

The sound of the 3rd group in AsI is a puzzle in this bar. In the L.H. part, a repetition of the preceding figure is marked, hence a broken dominant chord in the key of B major (the 4th figure is also marked as a repetition, which confirms such an interpretation). In the R.H. part the middle hemidemisemiquavers bear traces of corrections – it seems that Chopin changed the initial b1 and d2 notes to a1 and c2. Consequently, all 4 figures in this bar are identical in both hands, which is contrary to the characteristic harmonic sequence with a tonic chord on the 3rd quaver in the bar, present in the orchestral part (both in AsI and in the printed orchestral parts), the A text in this place and the text of all sources in analogous bar 4. According to us, we are most probably dealing with Chopin's mistake (cf. the first note in this bar).

category imprint: Differences between sources

issues: Corrections of AI

b. 26

composition: WN 37, Lento con gran espressione

Original version in A1

Final version in A1, contextual interpretation

CJ & CK (→CB)

EL
..

The initial version of A1 was corrected still in this autograph (inaccurately – the penultimate L.H. quaver, b, remained unchanged), whereas the sources based on [A2] already contain the changed version (regardless of the rhythmic changes). The version of EL may be Kolberg's revision after the analogy with b. 22. 

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

issues: Errors resulting from corrections , Errors of A , Corrections of AI , Kolberg's revisions , Revisions in EL

b. 33-34

composition: Op. 25 No 1, Etude in A♭ major

a1-g1-g1 in AI

f1-f1-e1 in A (→CDP,GE), FE & EE
..

In the original version, written in AI, the bottom notes of the figuration in the R.H. double the melodic line from the middle of bar 33  – a1-g1-g1. in A, Chopin immediately wrote the changed version, also in the L.H. where on the 4th beat in bar 33 and 1st beat in bar 34 there are two g1 instead of d1 and e1 as the top notes. Interestingly enough, the final edition of the part of the R.H. in the 2nd half of bar 33 was initially written in AI, yet it was changed there. Hence we could talk about Chopin's hesitation here. Cf. the note to bars 32-33.

category imprint: Differences between sources; Corrections & alterations

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

b. 35

composition: Op. 25 No 1, Etude in A♭ major

..

In AI it can be seen that it was the one octave lower E that was the original bass note on the 1st and 3rd beat of the bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI