mUltimate Chopin

Text Compare Notes Sources Description

Issues : Omissions to cancel alteration

b. 395

composition: Op. 16, Rondo in E♭ major

g2 in FE (→GE,EE)

g2 suggested by the editors
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category imprint: Interpretations within context; Editorial revisions

issues: Errors in FE , Omissions to cancel alteration

b. 399

composition: Op. 16, Rondo in E♭ major

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category imprint: Interpretations within context

issues: Errors in FE , Omissions to cancel alteration , Errors repeated in GE , Errors repeated in EE

b. 408-409

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

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There is no  restoring b in bar 408 before the last semiquaver in the L.H. in FE; the same applies to b1 ​​​​​​​in bar 409. These patent oversights, repeated almost certainly after [A], were corrected in GE (in both bars) and partially in EE (only in bar 409).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions

b. 408

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

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In FE (→EE), there is no  restoring g1 in the chromatic sequence in the R.H. In GE, this patent mistake was corrected. In addition, in FE there is no  raising c1 to c​​​​​​​1 in the L.H. This mistake was corrected both in GE and EE. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Errors repeated in GE , Errors repeated in EE

b. 422

composition: Op. 21, Concerto in F minor, Mvt III

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In A (→GE→FE) there is no  restoring g2 on the 3rd beat of this bar. This patent oversight – cf. analogous bar 414 – was corrected only in EE. An identical mistake is to be found in A also in the two remaining appearances of similar figures (bars 454 and 462). In this type of texture, Chopin considered both voices independently, to a significant extent, hence an alteration forming part of the chromatic progression in the top voice did not influence the notes of the bottom voice, constituting the harmonic base, in the internal hearing of the composer. Cf. numerous mistakes of this kind and inaccuracies in the Etude in A minor, op. 10 no. 2, e.g. in bars 1 and 5, as well as in an opposite situation in the 1st mov. of the Concerto, bars 302 and 304.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Omissions to cancel alteration , Errors of A , Errors repeated in GE , Errors repeated in FE