Issues : Accompaniment changes
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b. 72
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composition: Op. 50 No. 1, Mazurka in G major
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The version with tied G, having been entered into [A2], is almost certainly later. On the other hand, Chopin had a few opportunities to add that tie while proofreading FE, hence it is uncertain whether he actually considered that change to be final. It is easy to point out the advantages of each of the versions:
Due to that reason we give the main text a variant form. category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Accompaniment changes |
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b. 73
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composition: Op. 50 No. 1, Mazurka in G major
category imprint: Differences between sources; Editorial revisions; Corrections & alterations issues: Accompaniment changes |
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b. 96
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composition: Op. 50 No. 1, Mazurka in G major
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In the main text we give the version of GE, which is almost certainly an improvement introduced by Chopin in [A2]. At the beginning of analogous b. 92, the delay was introduced – contrary to a similar procedure in b. 90-91, 94-95 and 98-99 – only just in the phase of proofreading of A1. Therefore, it can be said that the version of GE ends both the improvement and the unification processes of the harmonic course of the final section of the Mazurka. It cannot be ruled out that the absence of a corresponding correction in the discussed bar in A1 is an example of an overlooked correction of an analogous place, which is often encountered in Chopinesque sources. However, we consider the version of A1 to be an almost equal variant, since due to the absence of a corresponding correction in FE, there is no proof that Chopin considered the change in [A2] to have definitively replaced the original version. category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes , Omitted correction of an analogous place |
major chord) and of the texture (octave doubling of the soprano) if we hold the bass note.
1-c2 in 