mUltimate Chopin

Op. 63 No. 2, Mazurka in F minor

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b. 19-27

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

..

In the main text we add a cautionary  to d1 in bars 19 and 27, which was performed also by GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

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

f1-g1 in As

e1-f1 in FE (→GE,EE)
..

As includes in this bar only the two R.H. melody notes, which we interpret as an indication that it is the accompanying voices from bar 17 that should be repeated here (see next comment). One can also see that initially Chopin probably wanted to repeat the version of that bar in the melody too – the minim that opens the bar was first written as e1. While preparing the Mazurka for print the composer eventually discarded the notion of diversifying the melody in this bar and maintained a strict analogy with the previous phrase.

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

issues: Chopin's hesitations , Main-line changes

b. 21

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

G & E in As, contextual interpretation

E & E in As
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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