mUltimate Chopin

Text Compare Notes Sources Description

Issues : Corrections in A

b. 6-7

composition: Op. 21, Concerto in F minor, Mvt II

 to bar 7 in A

 in bar 6 in GE (→FE→EE)
..

The change of the range of the  sign is certainly an inaccuracy of GE (→FE→EE). In A one can see that Chopin deleted the hairpin written over the part of the R.H., having the same range as in the editions. The new sign was written under the group of demisemiquavers introducing the theme and led further on, to the e3 minim.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Corrections in A

b. 6

composition: Op. 28 No. 24, Prelude in D minor

..

At the end of the bar, one can see a crossed-out  marking in A. Crossings-out of those markings in similar situations are also present at the end of b. 20, 41 and 54.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 6

composition: Op. 28 No. 21, Prelude in B♭ major

..

The crossing-out in A reveals the initial version of the beginning of this bar: .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Main-line changes

b. 7-11

composition: Op. 24 No. 2, Mazurka in C major

..

A bears traces of corrections made in the 1st  crotchet of the L.H. in bars 7 (erasure)  and 11 (crossing-out). In bar 11, Chopin replaced the chord f-a-d1 with the third d1-f1. Traces of his intervention in bar 7, although less clear, also point to the same change. A corresponding correction was also introduced by the composer in all the analogous bars: 39, 43, 91 and 95.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Accompaniment changes

b. 7-8

composition: Op. 24 No. 3, Mazurka in A♭ major

..

In A, the slur over these bars was in fact combined from three shorter fragments.

category imprint: Source & stylistic information

issues: Corrections in A