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. 50 No. 3, Mazurka in C♯ minor
In AI one can see numerous corrections of the L.H. part in the entire section encompassing b. 45-92. They include:
- Removal of the inner note (b) from the originally written f
-b-d1 triads on the 2nd beat of b. 45, 47, 53, 55, 77, 79 and 85. It is one of the latest corrections introduced in this autograph, since Chopin would consistently write the original version to the end of this section; only then did he correct 7 out of 8 analogous places (the missing change in b. 87 is most probably an oversight). - Removal of the top note (d1) from the originally written f-b-d1 triads on the 2nd beat of b. 48, 54. These changes were performed on an ongoing basis in the original version, most probably entered by distraction – Chopin had to correct only 2 out of 8 analogous places.
- Removal of c on the 2nd beat of b. 50.
- Transfer of the bass notes an octave lower or higher in b. 63-64.
- Replacement of the chord on the 3rd beat of b. 64 with a transitional F note.
- Transfer of the c bass note from the beginning to the end of b. 66.
- Change of the chord on the 3rd beat of b. 71, probably from f-c1-e1 to f-g-e1.
category imprint: Corrections & alterations; Source & stylistic information
issues: Accompaniment changes, Omitted correction of an analogous place, Corrections of AI
notation: Pitch
Back to note