mUltimate Chopin

Text Compare Notes Sources Description

Issues : Corrections of AI

b. 38

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

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In AI one can see that, initially, it was the one octave lower A1 that was the bass note at the beginning of the bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI

b. 45-55

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

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In b. 45, 47, 48 and 53-55, there are visible traces of corrections of the chords on the 2nd or 3rd beat of the bar in AI. In each case Chopin removed one note from the originally written f-b-d1 triad – b in b. 45, 47, 53 and 55 and d1 in b. 48 and 54. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Omitted correction of an analogous place , Corrections of AI

b. 45-57

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

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On the basis of AI one can see that Chopin hesitated whether to write the B major section (from b. 45) using a 4- or a 5-sharp key signature. It is proven by the following actions: a new key signature was added in b. 45 and 57, then the sharps of A and a1 were removed in both places, while the sharps before the a notes in b. 50 and 52 (as well as in 61 and 74) were crossed out and then reintroduced. 

category imprint: Corrections & alterations; Source & stylistic information

issues: Chopin's hesitations , Last key signature sign , Corrections of AI

b. 50

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

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There is a visible crossing-out of the c-a sixth on the 2nd beat of the bar in AI. Cf. b. 45-55.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI

b. 56

composition: WN 37, Lento con gran espressione

Unslashed grace note in A1 & CB

Slashed grace note in CJ, CK & EL
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In #A one can see that Chopin initially provided the trilled note with the value of a double dotted minim, whereas the c2 note ending the trill – with the one of a quaver. It was still in A1 that he changed it to a semibreve and a non-slashed grace note. Therefore, the notation of [A2] featuring a slashed grace note, confirmed by CJ and CK, may be considered the last stage of the process of delaying the moment of playing the final c2 note. However, the difference in the notation of the grace note does not have to be meaningful, since in the Chopinesque notation both versions can be equal.

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

issues: Deletions in A , Corrections of AI