mUltimate Chopin

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Issues : Enharmonic corrections

b. 15

composition: WN 37, Lento con gran espressione

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In A1 one can see a correction of the last semiquaver in the 1st half of the bar, which was initially written as c3. Chopin then crossed out the  and enlarged the notehead so that it reaches the line above and looks like d3. The original version is preserved in b. 48.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Enharmonic corrections

b. 17

composition: Op. 29, Impromptu in A♭ major

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In A Chopin changed the notation of the 1st and 3rd notes from c2 and g2 to b1 and f1. The unnecessary accidentals in the 2nd triplet in the bar are remains of the original notation.

category imprint: Corrections & alterations

issues: Enharmonic corrections

b. 17-18

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

b in the chord in AI

c1 in A (→GE→FE→EE)
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In AI the last chord in bar 17 contains a note b followed in the next chord by a b with a cautionary . In the main text we give c1 according to A (→GE→FE→EE).

category imprint: Differences between sources

issues: Enharmonic corrections

b. 17

composition: Op. 10 No 11, Etude in E♭ major

B in A

A in FE (→GE,EE) 
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It is hard to determine what prompted Chopin (?) to enharmonically change the correct orthography of A to a simplified notation of FE (→GE,EE). In the main text we give the notation of A.

category imprint: Differences between sources; Corrections & alterations

issues: Enharmonic corrections , Authentic corrections of FE

b. 19

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

The chord in AI

The chord in A (→GE→FE→EE)
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In A (→GE→FE→EE) Chopin wrote b, in this context more natural than c1 appearing in AI.

 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Enharmonic corrections , Corrections of AI