mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in GC

b. 13-14

composition: Op. 35, Sonata in B♭ minor, Mvt II

One pedal in GC

Two pedals in FE (→EE)

 sign in GE

Our variant suggestion
..

In some of the sources – GC and GE – the pedalling of these bars is written clearly inaccurately, as holding the pedal beginning on the 2nd beat of bar 13 longer than one crotchet leads to an unjustified mix of harmonies, as far as the sound is concerned. The difference between the sources based directly on [A] – GC and FE – is most easily explained with an oversight of the copyist, although other explanations are also possible. On the other hand, the unnecessarily complex pedalling of FE (→EE) in a faster tempo, without an audible error, may also not entirely reflect Chopin's intention – cf. similar bars 32-34. Therefore, in the main text we suggest a variant solution, leaving a possible use of pedal on the 2nd beat of bar 13 at the discretion of the perfomer.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Inaccuracies in GC

b. 14-16

composition: Op. 39, Scherzo in C♯ minor

 in EE and FE

GC (→GE)
..

In GC (→GE) the hairpin mark  only begins in bar 15. In our main text we reproduce that mark as it appears in EE and FE, and also following analogous situations in bars 6-8 and 18-20.

category imprint: Differences between sources

issues: Inaccuracies in GC

b. 14-16

composition: Op. 35, Sonata in B♭ minor, Mvt III

Slurs in GC, interpretation (→GE)

Slurs in FE (→EE)

Our suggestion
..

The slur of GC, started on the last beat of bar 14, is not continued in bar 15 (on a new line). The simplest interpretation of this notation – as a continuous slur – was performed in GE. The version, analogous to the slur embracing the next phrase, may be considered to be an equal variant to the main text, suggested by us, based on a comparison of this place with its repetitions in bars 22-24, 68-70 and 76-78. The analysis leads to the conclusion that the ending of the slur in bar 14 and related to it absence of the slur at the transition between bars 14 and 15 in FE (→EE) and the beginning of the slur in bar 15 from the 1st crotchet in GC are certainly or highly likely non-authentic elements.

category imprint: Graphic ambiguousness; Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Corrections in A , GE revisions , Inaccuracies in GC , Authentic corrections in GC

b. 15-17

composition: Op. 25 No 9, Etude in G♭ major

 in GC

 in FE & EE

 in GE1

 in GE2 (→GE3)

 suggested by the editors
..

The  hairpins written in GC are certainly too long – leading the diminuendo one quaver beyond  placed at the beginning of the new phrase is unable to be performed in a noticeable manner (cf. the Etude in A minor, No. 11, bar 16). Therefore, in the main text we end the sign still in bar 16, in accordance with FE, EE and GE2 (→GE3). In turn, both potentially authentic moments of beginning the sign – in GC and in FE and EE – are, according to us, equally justified, as far as the music is concerned. The slight shift of the beginning of  in GE is a typical inaccuracy of this edition – adjustment of the range of the sign to the rhythmic structure (most often to beams).    

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins , GE revisions , Inaccuracies in GC

b. 15-16

composition: Op. 35, Sonata in B♭ minor, Mvt III

End of slur in GC, literal reading

End of slur in GC (contextual interpretation→GE) & FE (→EE), contextual interpretation
..

In bar 16, the first in a new line, in FE (→EE) there is no ending of the slur started in bar 15, which is a patent mistake. We reconstruct the overlooked ending on the basis of analogous bars 24, 70 and 78.
The ending of the slur in GC, interpreted literally, may be interpreted as a "tenuto-slur," frequently used by Chopin. However, the comparison with a similarly ended slur in bar 18 proves that the shift of the ending of the slur beyond the chord in the middle of bar 16 is probably only a writing manner, devoid of significance. In the main text, we give a slur ended in a conventional way, in accordance with GE and the reconstructed version of the remaining editions.
Similarly in bars 23-24, 69-70 and 77-78.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , EE inaccuracies , Inaccuracies in GC