mUltimate Chopin

Op. 63 No. 2, Mazurka in F minor

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Issues : Accompaniment changes

b. 17

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

No g in As

Chord with g in FE (→GE,EE)
..

In the final version, Chopin completed the last chord of the bar, probably aiming to emphasize the livelier, devoid of melancholy character of the new phrase with a firmer sound of the full dominant ninth chord.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes

b. 18

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

E-e in As

A-e in FE (→GE,EE)
..

The octave of E in As refers to the octave in the previous bar. In the final version, however, Chopin limited the mobility of the bass voice, presumably due to the introduction of the pedal note A in the next bar. Cf. bar 26.

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

issues: Accompaniment changes

b. 19-27

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

e-b in As

A-e-b in FE (→GE,EE)
..

In bar 19, Chopin did not use the pedal note A in As, and he also edited the accompaniment differently in the next bar. The same in bar 27, where the accompanying voices are not listed in As, which we interpret as a repetition of the version of bar 19. The six-note chord occurring in the final version on beat 3 appears – in a similar context – in the Mazurka in E minor, Op. 41 No. 1, bar 19 and analog.

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

issues: Accompaniment changes

b. 20-28

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

A on 1st beat in As

A on 2nd & 3rd beat in FE (→GE,EE)
..

In As Chopin emphasises the end of the four-bar section with an A bass note played at the beginning of the bar 20. It is most probably related to a slightly different harmonic course too – see the previous note. The rhythm of the L.H. also comes into play – in the final version, all bars consistently begin with a rest, while in As bars 20 and 23-24 have crotchets at the beginning. The same in bar 28, where the accompanying voices are not listed in As, which we interpret as a repetition of the version of bar 20.

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

issues: Accompaniment changes

b. 21

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

G & E in As, contextual interpretation

E & E in As
..

In As, the accompanying voices are not written down, which we interpret as a repetition of the version of the analogous bar 17. However, it is not entirely certain whether it was a signal "as before" or just "like before". For this reason, we discuss independently the accompanying voices not specified in As, and the written out melodic voice.

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

issues: Accompaniment changes