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b. 1-2

composition: Op. 63 No. 1, Mazurka in B major

No sign in AI

in FE (→GE,EE)
..

category imprint: Differences between sources; Corrections & alterations

b. 1

composition: Op. 63 No. 1, Mazurka in B major

Mazourek with no dedication in AI

3 Mazurkas in FE

Trois Mazourkas in GE

Souvenirs de la Pologne in EEW

Mazurka in EEC
..

category imprint: Differences between sources

issues: EE revisions , Dedications , GE revisions

b. 1-17

composition: Op. 2, Variations, complete

..

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

b. 1-6

composition: Op. 49, Fantaisie in F minor

..

In bars 1-2 and 5-7 the opening sequence of the Fantasy is written down in FCs with the use of one-part notation, without the L.H. part. Moreover, nothing points to the fact that the motifs should be doubled in the lower octave; however, it is highly likely:

  • All stems are pointing upwards, although Chopin would generally write stems under noteheads. This suggests that space was left for the L.H. part (below the written-down line).
  • No rests for the part of the second hand.
  • This phrase having been texturally diversified in bars 11-12, in which the melody is doubled and sometimes even tripled in lower octaves, is natural only when both hands perform in unison already in bars 1-2 and 5-7. Otherwise the contrast seems too considerable and unjustified by the phrase development.

See also bar 7.

category imprint: Interpretations within context; Source & stylistic information

issues: Bass register changes

b. 1-16

composition: Op. 49, Fantaisie in F minor

No L.H. markings in A & FE (→EE1)

L.H. dots & slurs in GE1

L.H. slurs & dots in EE2

L.H. slurs & dots in GE2
..

In bars 1-2, 5-7, 11-12 and 15-16, in GE and in EE2 (probably on the basis thereof) separate articulation markings for the L.H. were added (staccato dots and slurs under the stave). In bars 1-2 in EE2 only slurs were added, since this edition does not contain dots in the R.H. part. In these two bars it is also GE2 that contains slurs only, since the dots at the beginning of the piece were replaced with a slur, also in the R.H. These additions cannot be authentic; moreover, they are superfluous, since Chopin would very often omit markings for a left-hand part led in unison, considering them obvious (although he was not always consistent – there are examples of both parallel parts being provided with markings – one should not assume that the lack of markings could suggest the use of a different kind of articulation).

category imprint: Differences between sources

issues: EE revisions , GE revisions