mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic post-publication changes and variants

b. 221

composition: Op. 11, Concerto in E minor, Mvt III

d1-f​​​​​​​1 tied in FE (→GE,EE)

d1-f​​​​​​​1 repeated in FEH

Our variant suggestion
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In FEH, the ties of the d1-f1 third were crossed out. The authenticity of this variant seems to be highly likely if we take into account a number of other, almost certainly Chopinesque, variants entered into that copy. The manner the marks were crossed out resembles the Chopinesque one – cf. e.g. crossings-out in the pupil's copy of the Nocturne in D​​​​​​​ Major, Op. 27 No. 2, bar 45. In the main text, we signalise the possibility of omitting the ties with brackets.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 223-224

composition: Op. 11, Concerto in E minor, Mvt III

Tied g​​​​​​​1 in FE (→GE,EE)

No g​​​​​​​1 in bar 224 in FEH
..

The crossing-out of the tied g​​​​​​​1 note at the beginning of the bar visible in FEH may indicate a variant – cf. analogous bar 228. It was probably meant to simplify the performance, since omission of the tie, sonically practically unnoticeable, enables the f1-g1 second to be performed with the 1st finger, which, in turn, allows for an easier fingering of the upper voice. However, it cannot be excluded that the crossing-out was only supposed to suggestively signalise that this note should not be played simultaneously with the e1-e2 octave, which is indicated by a few similar crossings-out – see bars 294-295 as well as 334-335, 370-371, 377-378. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 243-244

composition: Op. 42, Waltz in A♭ major

up to a3 in FE, GE & EE

up to a4 in FED
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In FED Chopin marked in an abbreviated manner an extension of the figuration with an octave (in pencil). A similar solution can be found in the Etude in F minor, Op. 25 No. 2, bar 67, the Nocturnes in F minor, Op. 48 No. 2, bars 113-114 and in E major, Op. 62 No. 2, bars 68-69 and in the Waltz in A major, Op. 34 No. 1, bars 163-164 and 167-168. In some of the cases, the idea of the variant could have been related to the extended piano scale, which in Chopin's last years reached until a4. 

category imprint: Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants

b. 256-257

composition: Op. 11, Concerto in E minor, Mvt III

FE (→GE,EE)

FEH, literal reading

FEH, contextual interpretation
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The octave sign added in FEH most probably defines an authentic variant. According to us, it is much more likely that it was meant to move the entire figure of both hands by an octave, and not only of the R.H. 

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

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 260

composition: Op. 2, Variations, complete

No bass progression in AsI, Af & A (→GE→FESB,EE1→EE2)

D-d & C-c in FE & EE3
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Chopin added the octave bass sequence in the 2nd half of the bar while proofreading FE1. This addition, undoubtedly drawn from FE, was also introduced into EE3. According to us, it is likely that the composer wanted this unquestionable improvement of the version for one piano to apply to the version of the piece with orchestra too (as a complement to the cellos and the double basses). A few years later, also exclusively in the version for one piano, Chopin introduced a change into the first tutti in mov. III of the Concerto in F minor, Op. 21. It is also there that we can assume that the changed text was supposed to concern the orchestral part also in the full version of the piece.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of FE , Authentic post-publication changes and variants