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Op. 63 No. 2, Mazurka in F minor

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b. 1-28

composition: Op. 63 No. 2, Mazurka in F minor

..

As is a typical sketch – without title, key signature, without any performance indications except a slur from the grace note to the d2 crotchet in bar 41 and perhaps a staccato dot over this crotchet. We do not consider these deficiencies to be variants, since they are simply a feature of the 'sketchy' nature of this manuscript. We discuss the deviations from the final pitch and rhythmic text in notes concerning particular places.
What is more, on a number of occasions, the notation is abridged or incomplete – repeated L.H. chords are written down as stems without noteheads; repeating sections are indicated only by the melodic voice (bars 27-32), while the return of the first section of the Mazurka (from bar 42) was marked with a zigzag meaning 'and so on and so forth'. There are also quite many omissions of accidentals. We reproduce such notation only in the graphic transcription (version 'transcript'). In the content transcription we fill in all these abbreviations, which, in terms of pitch and rhythm, leads to a version that is close to the published text (especially in the outermost sections). 

category imprint: Differences between sources

b. 2

composition: Op. 63 No. 2, Mazurka in F minor

a-c1-f1 triad in As

a-f1 sixth in FE (→GE,EE)
..

The triad in the original version in As, identical to the version of the analogous bar 10, was replaced by a sixth in the published version. Chopin seems to have strived to concentrate expression, i.a. through stricter control of the voices – cf. e.g. bar 25.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 3

composition: Op. 63 No. 2, Mazurka in F minor

Rest in As, contextual interpretation

b-e1 in FE (→GE,EE)
..

In As the third beat in the L.H. part is not recorded. Since chord repetitions are marked in As by vertical lines symbolizing the stems of repeated chords, we assume that Chopin intended a rest here. It is possible, however, that he considered the repetition of the previous crotchet so obvious that he even omitted the abbreviated marking of this beat.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 4

composition: Op. 63 No. 2, Mazurka in F minor

Slur to c2 in FE (→GE,EE)

Slur to f2 suggested by the editors
..

The slur only reaching the semiquaver c2, musically and pianistically awkward, may be the result of a misreading of [A], perhaps inaccurate in this respect. That's why we propose a longer slur in the main text. The same in bar 44.

category imprint: Editorial revisions

b. 4-11

composition: Op. 63 No. 2, Mazurka in F minor

f in As

F in FE (→GE,EE)
..

Moving basses in similar contexts an octave lower (and sometimes replacing them with octaves) is one of the most frequent changes introduced by Chopin while refining already shaped, yet not completely ready musical ideas. See also bar 11.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Bass register changes