Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 21, Concerto in F minor, Mvt III
The crossings-out visible in A in bars 453-454 and 461-462 allow us to reconstruct the two previous versions of the accompaniment in these bars:
The first version appeared in [AI] probably also in bars 421-422, which is proved by certain remaining elements thereof in the notation of A (and which explains them at the same time) – cf. both notes on the L.H. in bar 422. If one of the previous versions was also in bars 413-414, one could conclude that Chopin's concentration was decreasing as he was copying similar phrases:
- bars 413-414 feature the faultlessly written final version.
-
in bars 421-422 Chopin initially wrote the middle version, including elements of the original version – d
at the beginning of the bar and b-f1 at the end. He changed the bass still in A, yet the 3rd crotchet – only in the proofreading of FE. - in the discussed bars, the earlier versions were written in A in whole – in bars 453-454 initially the first, then the second, whereas in bars 461-462 – only the second one. Chopin then crossed it out and replaced with the final version.
Compare the passage in the sources »
category imprint: Corrections & alterations; Source & stylistic information
issues: Corrections in A, Accompaniment changes
notation: Pitch
