mUltimate Chopin

Op. 63 No. 2, Mazurka in F minor

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Pitch
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

Pitch

b. 6

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

2 times e-a-c1 in As

e-c1 in FE (→GE,EE)
..

In As the 2nd L.H. crotchet is an e-a-c1 three-note chord. The same chord is then repeated as the 3rd crotchet. Chopin would often change the number or position of notes in such accompanying figures or the number of times a given chord is played in a bar while refining his pieces – cf., e.g. bar 13, 19, 20, 22-24.

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

issues: Accompaniment changes

b. 8

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

..

We add a cautionary  before g in the main text. The accidental was also added in GE. Similarly in bar 48.

category imprint: Differences between sources

issues: GE revisions

b. 11

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

c in As

C in FE (→GE,EE)
..

As in bar 4, when preparing the Mazurka for printing, Chopin moved the bass an octave lower.

category imprint: Differences between sources; Corrections & alterations

issues: Bass register changes

b. 12

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

e2 in As

e2 in FE (→GE,EE)
..

Chopin's omission of accidentals defining the alteration occurred only exceptionally, so the lack of an accidental before the last quaver in As, which makes it an e2, is probably an earlier version.

category imprint: Differences between sources; Corrections & alterations

issues: Main-line changes

b. 13

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

No rest in As

f-g-d1 in FE (→EEW)

g-d1-f1 in GE

Our alternative suggestion
..

After preparing As, Chopin decided to forgo the note played on the 3rd crotchet. Therefore, he had to choose whether the chord on the 2nd crotchet was to correspond to the chord in the previous or in the next bar (in terms of position). Initially, he opted for g-d1-f1, only later, while proofreading FE1, he changed it to f-g-d1, which is proven by the remaining elements of proofreading visible in FES. The version of GE (g-d1-f1) proves that the German edition was based on a proof copy of FE1 from before this proofreading. The four-note chord in bar 53 combines the advantages of both versions, hence it seems that it could be used in bar 13 as well.

category imprint: Differences between sources

issues: Chopin's hesitations , Authentic corrections of FE