mUltimate Chopin

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Issues : Corrections in A

b. 1

composition: Op. 25 No 8, Etude in D♭ major

a-e1 in A (→GE) & FE

g-e1 in EE
..

In A the bottom note of the 4th quaver was corrected by Chopin from g to a (similarly in bars 2, 5, 6 and 22). In the 1st bar, the result of this correction is not that obvious, at the first sight, and the version of EE proves that probably the copyist preparing the base text for this edition misinterpreted Chopin's intention.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections , Accompaniment changes

b. 1-2

composition: Op. 64 No 2, Waltz in C♯ minor

c & d in As & AI

C & D in A & FE (→GE,EE)
..

In As and AI the bass notes in bars 1-2 are written an octave higher than in the version prepared for print (in A one can see traces of corrections from c to C in bar 1). Lowering bass is one of frequently used interventions by Chopin at the time of elaborating original ideas – cf. bars 14, 32, 39 and 55, 65 and 81, as well as, e.g., the Waltz in D major, No. 1, bars 50 and 77.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Accompaniment changes , Bass register changes

b. 1

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

AI is devoid of tempo markings. Generally, there are barely 3 verbal indications in the entire AI:  in b. 17 and 89 and  in b. 191; therefore, Chopin apparently abandoned writing more detailed performance indications when it turned out that this autograph would not be a Stichvorlage. Due to the above reason, both here and hereinafter we generally indicate the absence of indications in AI in notes (these versions are suggested as variants only when one of the remaining sources is lacking in indications).

The crossings-out visible in AF over the beginning of the piece prove that Chopin was looking for the best indication of its tempo and character, just like in both previous Mazurkas. 

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

issues: Corrections in A , Chopin's hesitations , Deletions in A

b. 1-24

composition: Op. 28 No. 4, Prelude in E minor

..

As is devoid of the tempo indication and all further performance indications, which is related to the fact that this manuscript remained unfinished. Therefore, we do not regard those shortcomings as variants and – if an indication is present in the remaining sources – we do not record it in separate notes.

In A one can see a crossing-out of an earlier indication, most probably Lento.

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

issues: Corrections in A , Deletions in A

b. 1

composition: Op. 28 No. 5, Prelude in D major

..

Under the crossing-out in A, one can see that the initial tempo marking was Vivace.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A