mUltimate Chopin

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Issues : Corrections of AI

b. 63-64

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

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The notation of AI shows the evolution of the accompaniment in these bars. In both bars Chopin started from a typical bass-chord-chord structure, which he modified in b. 64 by replacing the last chord with a transitional F note. At the same time, he was improving the pitch of the bass notes, which he initially wrote as B and e and then moved them an octave lower (B1 and E); eventually, he left B and E. The way the changes are written is typical of drafts: gentle crossings-out or even leaving two versions with none of them having been crossed out. Therefore, it seems that they were introduced at a time when it was already known that the Mazurka had to be rewritten, hence AI could be used to write down new ideas on the go. The corrections/additions in the next three bars are of similar nature: b. 65 and 67 in the R.H., b. 66 in the L.H.
In b. 64 the same two versions that we can see in AI are also written in AF, whereby the earlier one is definitely crossed out. According to us, it proves Chopin's reduced concentration at the time of writing another autograph of the Mazurka.

category imprint: Corrections & alterations; Source & stylistic information

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

b. 65-67

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

AF (→FE→EE) & GE (main version in AI)

Alternative version in AI
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In b. 65 and 67, there are two variant versions of the R.H. motifs in AI. Eventually, Chopin used the idea that was written first. 

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Corrections of AI

b. 66

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

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In AI one can see the deleted initial form of the accompaniment – c and 2 g-c1-e1 chords – and the added final version.

category imprint: Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Corrections of AI

b. 94

composition: Op. 2, Variations, complete

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At first glance, AsI has 4 demisemiquavers here, creating a diatonic progression as in bar 78. However, a closer look shows that Chopin later added the notes b1 and c2, transforming the group into the chromatic sextuplet known from the published version. The insertion does not suggest a final change, it is rather intended to note an alternative idea, so we adopt the original version with 4 demisemiquavers as the text of AsI. This version is included as a variant in the note below, pertaining to slurs.

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

issues: Main-line changes , Corrections of AI

b. 115

composition: Op. 2, Variations, complete

Quavers in AsI

Crotchet in A (→GE→FE,EE)
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category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Main-line changes , Corrections of AI