mUltimate Chopin

Text Compare Notes Sources Description

Issues : Dotted or even rhythm

0
b. 87-92

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

AI

FE (→GE,EE)
..

In AI the ending of the Mazurka is 4 bars shorter – bars 88-91 are absent, while bars 87 and 92 are present in a different form, which makes it possible to put them together directly adjacent to each other.

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

issues: Dotted or even rhythm , Changed phrase length

b. 89

composition: Op. 21, Concerto in F minor, Mvt I

Quavers in A & GE2

Dotted rhythm in GE1 (→FE→EE)
..

In the main text we give the rhythm of A, not raising any source or musical doubts. The version of GE1 (→FE→EE) is probably erroneous:

  • the layout of the text in GE1 practically excludes a possibility of performing rhythmical corrections at this place;
  • the authentic phrasing combines less naturally with a dotted rhythm on the 3rd beat (cf. phrasing and rhythm in the previous bar).

GE2 restored the version of A.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Errors in GE , GE revisions , Dotted or even rhythm

b. 90

composition: Op. 64 No 2, Waltz in C♯ minor

Dotted rhythm in As & A (→FE→GE,EE)

Crotchets in AI
..

The variant version of AI may prove Chopin's hesitation, as long as the dotted rhythm in As was not added later than AI was developed.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Dotted or even rhythm

b. 92

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

Quavers in AI & GE

Dotted rhythm in AF (→FE→EE)
..

In the main text we give the dotted rhythm of AF (→FE→EE), whose nature corresponds to a Chopinesque improvement. The g2 minim preceded by two quavers somewhat fades into the wave of the crescendo, which reaches its climax thereupon. In turn, preceded by a dotted rhythm, it additionally becomes an important signal, suggesting a breakthrough in the course of music. It seems that the details of the dynamic indications correspond to this difference, i.e. the range of the  hairpin and the presence/absence of a long accent.

category imprint: Differences between sources; Corrections & alterations

issues: Dotted or even rhythm

b. 122

composition: Op. 22, Polonaise

Dotted rhythm in FE (→GE)

Quavers in EE
..

Two quavers in EE is the initial version, most probably authentic. In FE one can see that the dotted rhythm was introduced only just at the stage of proofreading.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes , Dotted or even rhythm