Issues : Accompaniment changes
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b. 140
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we give the sixth of FE, introduced by Chopin in the last stage of proofreading instead of a fourth, present in the remaining sources. One can see traces of a correction in the copies of FE. category imprint: Differences between sources; Corrections & alterations |
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b. 171-172
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Without access to [AG], it is impossible to determine whether and which version Chopin considered to be final. The general concordance between AI and GE suggests that this version was created first; however, even if it was the case, it does not mean that an alternative idea – the version of AF – was already the final word, since there are numerous examples, supported by sources, of returns to original versions, which was poignantly described by George Sand. Therefore, having a choice between two equal authentic versions, in the main text we give the text of GE, which is the principal source adopted for the entire op. 50. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes , Enharmonic corrections |
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b. 189
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we give the version of GE, in which the performance indications are most accurate (slur, staccato dot and hairpin in b. 189-191). According to us, the omission of the g quaver is to be considered a continuation of the changes, which are evidenced by crossings-out and corrections visible in AI in b. 185-189. category imprint: Differences between sources issues: Accompaniment changes , Main-line changes |
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b. 192
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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The crossings-out visible in AI allow us to interpret the initial version of the ending: . category imprint: Differences between sources; Corrections & alterations issues: Accompaniment changes |
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