Shorthand & other
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b. 16
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composition: Op. 63 No. 1, Mazurka in B major
category imprint: Differences between sources |
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b. 32
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composition: Op. 63 No. 1, Mazurka in B major
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The change of key introduced in [A] (→FE→GE,EE) undoubtedly facilitates the interpretation of the text of bars 33-52. The four-bar sections of the subsequent part are no longer in the key of A major, hence keeping three sharps in the key signature plays a structural rather than a tonal role – the key signature of B major is restored upon the return of the main theme of the Mazurka in bar 69, and not upon the return of the key of B major, which occurs already in bar 53. category imprint: Differences between sources; Corrections & alterations |
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b. 43-49
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composition: Op. 63 No. 1, Mazurka in B major
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There are no reasons to question the authenticity of the rests in the bottom voice present in bars 43-44 and 46-49 in FE (→GE,EE). However, it is difficult to find a justification why they were written in this very place, and not in bars 33-39. In AI Chopin was consistent – none of these bars contain rests. category imprint: Differences between sources; Corrections & alterations |
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b. 91-94
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composition: Op. 63 No. 1, Mazurka in B major
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In AI the L.H. middle voice minims are separated from the chords; it was achieved by shifting the noteheads and by providing them with separate stems (from bar 92, since bar 91 is absent in AI). In the version prepared for print, Chopin gave up this idea, which could have confused the engraver of GE, who probably considered the missing tie to b in bars 93-94 a mistake. In the main text we suggest a compromise solution, in which we separate c category imprint: Differences between sources; Editorial revisions issues: EE revisions |
1 in bar 92 and b in bar 94, that is the notes whose rhythmic values differ from the remaining notes in the chord. In