mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors resulting from corrections

b. 17

composition: Op. 29, Impromptu in A♭ major

..

In A (→GE1) the 5th and 6th quavers (f1 and g1) have superfluous accidentals (in FE only g1), whereas the unnecessary natural in EE appears also before the 4th quaver c2. Those are the remains of original notation of the 1st crotchet in that bar.

category imprint: Source & stylistic information

issues: Errors resulting from corrections

b. 19

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

Staccato dot in A, FE & EE1 (→EE2)

No mark in GE & EE3
..

GE overlooked the staccato dot at the beginning of the bar. It is most probably a result of an erroneous interpretation of Chopin correction in A. The dot was also deleted in EE3, perhaps as a side effect of adopting the version with the octave from GE.

category imprint: Differences between sources

issues: EE revisions , Errors resulting from corrections , Errors in GE

b. 20-22

composition: Op. 25 No 3, Etude in F major

..

In GC there are no  signs at the end of bars 20 and 22, which, in this context, should be considered as inaccuracy. It resulted from self-corrections of Chopin, who changed the pedalling he wrote in these bars.

category imprint: Differences between sources

issues: Errors resulting from corrections , Inaccuracies in GC

b. 20

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

..

The correct notation of the trill in the 1st half of this bar and all its repetitions – bars 28, 74 and 82 – appeared in the sources (not including pupil's copies) only several years after the publication of the Sonata, in EE2 and GE2. The mistake was committed by Chopin, who in [A] (→GC→GE1→GE2mar,→FE1→FE2→EE2) wrote the trill minim as a G (with a cautionary ). The error was noticed in the proofreading of FE3 (→FE4,FE5), however, at the time of performing the correction, another mistake was committed, by moving the note mechanically together with the preceding it flat, which resulted in an F. The correct text was marked in all pupil's copies.
A similar mistake, consisting in writing the top second of the main note of the trill instead of the main one, from which the trill starts in this context, is to be find also in, e.g., the Bolero in A minor, Op. 19, bar 187.

In EE there is also no wavy line after the trill.

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

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Errors in EE , Errors resulting from corrections , Errors in GE , GE revisions , EE inaccuracies , Errors of A , Annotations in FES , Authentic corrections of FE , Errors of GC

b. 20

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

 in Atut

 in FE (→EE,GE1→GE2)

 in GE3

 suggested by the editors
..

According to us, Chopin changed the initially written  to  in Atut, probably with an intention of leaving place for a subsequent crescendo. However, the correction turned out to be incomprehensible for the engraver of FE (→GE,EE), who preserved . Like in bar 16, the mark in Atut is written between the chords, which, according to us, does not mean that it should be applied from the 3rd beat of the bar, like it was reproduced in the majority of the editions.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccuracies in FE , Corrections in A , Errors resulting from corrections