mUltimate Chopin

Text Compare Notes Sources Description

Issues : Differences in form

b. 1

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

No anacrusis in As & AI

Anacrusis in A (→FE→GE,EE)
..

The original version without upbeat was most probably valid still at the stage of writing A, since the arrangement of signs at the beginning of this autograph proves a later addition of upbeat.

category imprint: Differences between sources; Corrections & alterations

issues: Differences in form

b. 1-4

composition: Op. 64 No 1, Waltz in D♭ major

No introduction in As

4 bars in AI, AII, AIII & A (→FE→GE,EE)

4 bars with fingering written in FED

8 bars with fingering in FED

8 bars without teaching fingering
..

The addition in FED – trill 4 bars – probably means a variant of beginning the Waltz in a way similar to the return of the main section from bar 69. We give each of the variants – four- and eight-bar – in the version with fingering, written also in FED, or without.

As starts right away with accompaniment, which corresponds with bar 5 of the version of later autographs and editions.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants , Main-line changes , Differences in form

b. 13

composition: Op. 24 No. 3, Mazurka in A♭ major

Without repeat of bars 13-36 in AI

Repeat sign in A (→GE→FE→EE)
..

In AI the section corresponding to bars 13-36 of the ultimate version is not repeated.

category imprint: Differences between sources; Corrections & alterations

issues: Differences in form

b. 13

composition: Op. 26 No 1, Polonaise in C♯ minor

No repeat sign in A (literal reading)

Repetition in FE (→GE,EE)
..

The sign opening the repetition of bars 13-37, in A probably accidentally overlooked, was most probably added by Chopin in the proofreading of FE (→GE,EE). Cf. bar 54.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE , Differences in form

b. 19-20

composition: Op. 24 No. 4, Mazurka in B♭ minor

..

A has got two more bars written in between bar 19 and bar 20. Those two additional bars, later deleted, contained modified versions of bars 20 and 5. They formed the 1st volta for the ending of the initially planned repeat of the section beginning in bar 6.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Differences in form