mUltimate Chopin

Text Compare Notes Sources Description

Issues : Annotations in FEJ

b. 12

composition: Op. 10 No 6, Etude in E♭ minor

No sign in A (→FE→GE,EE)

Possible reading of FEJ
..

The meaning of the mark (marks?) visible in FEJ is uncertain. The mark over e1 at the end of the bar may be a fingering digit.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEJ

b. 12

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

Fingering written into FED, FEJ & FES

No teaching fingering
..

In three out of four teaching copies, we find identical Chopinesque entries, indicating a swap of fingers on the c1 note (from 1st to 2nd). The entry in FED is clearest, whereas the one in FEJ – most difficult to read.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Annotations in FEJ

b. 12

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

Grace note written into FEJ

No grace note in remaining sources
..

As a whole, the entry in FEJ is difficult to interpret. The part written on the stave creates a quite distinct, small, slashed f1 or g1 quaver. The context speaks strongly in favour of f1 – a repetition of a note in the form of a grace note, preceding a larger interval upwards (most often an octave), is often to be found in pieces by Chopin, cf., e.g. the Polonaise in E Major, Op. 22, b. 56, Bolero in A Minor, Op. 19, b. 160 or Scherzo in B Minor, Op. 31, b. 302. In such a context, the grace note generally facilitates the performance by enabling a change of finger, in the discussed place of the Prelude from 3 to 1 or 2. The version with the grace note can be considered an equal variant with respect to the main text.

As far as the marks added below the stave are concerned, they can be seen as, e.g. a diagonal cross (often encountered in teaching copies), a very stooped , alternatively a digit '1' (the 1st finger on the added grace note) and a slur. We consider the latter to be most likely, hence we include it in the transcription of the text of FEJ.

category imprint: Graphic ambiguousness; Differences between sources

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

b. 12-13

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Fingering suggested by the editors, based on FES & FEJ
..

In the main text we combine the compatible entries of FEJ and FES.

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ

b. 13-14

composition: Op. 27 No 1, Nocturne in C# minor

No teaching fingering provided

Fingering in FEJ & FES

Fingering in FED

Both versions of teaching fingering
..

The teaching copies contain two undoubtedly different fingerings for this fragment. One is taken from #WfJ and #WfS, the other is a combination of Chopin's annotations in #WfD in this bar and in bar 16 when this figuration is repeated. In the main text we juxtapose these partly alternative fingerings. Cf. fingering in Sonata in B minor Op. 35, 3rd mvt., bar 31.

category imprint: Differences between sources

issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ