mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 6

composition: Op. 26 No 1, Polonaise in C♯ minor

 in A (→FE→GE1, first time)

 in FE (→GE1), first time & in GE2 (→GE3→GE4→GE5)

 in EE
..

The sources differ in the range of  hairpins. Taking into account various possibilities of interpretation of the not too carefully written signs in A (also in analogous bar 31) and a possibility of Chopin proofreading of FE (at the reappearance of this bar in the written repetition of bars 1-12), all three variants of the range of this sign can be considered to be potentially corresponding to Chopin's intention. In the main text we give the most possible interpretation of the hairpins of A.

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

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Inaccuracies in A

b. 6

composition: Op. 50 No. 3, Mazurka in C♯ minor

No mark in AI & GE2

Long accent in AF & GE1

Short accent in FE (→EE)
..

The shorter bottom arm of the accent in AF caused the mark in FE (→EE) to have been reproduced as short. The absence of the accent in GE2 is most probably an oversight.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in A

b. 6-13

composition: Op. 28 No. 8, Prelude in F♯ minor

..

As was the case in b. 3-4, in A Chopin generally omits accidentals next to the bass quavers if the accidentals have been written an octave higher next to one of the preceding semiquavers. In the discussed bars it concerns f in b. 6, c1 and b in b. 7, g and g in b. 8, f in b. 9 and 11, B and G in b. 11, B in b. 12 and G in b. 13. That notation was literally repeated in FE; in FC almost without changes (only one  added next to B in b. 11). The remaining editions added the majority of the necessary accidentals – in EE1 all except for the  next to G in b. 13, while in GE1 all except for the naturals next to f in b. 6 and G in b. 11 (in GE2 the former was added). It is only EE2 that includes a fully correct notation.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 6-11

composition: Op. 28 No. 9, Prelude in E major

..

As was the case in the Prelude No. 8 in F Minor, Chopin assumed that the middle notes of the triplets did not require an accidental if a respective accidental had been written before a top-voice note placed an octave higher. In A (→FC→FE) and CGS there is not a single out of 8 necessary accidentals –  before c and d in b. 6, g in b. 7, c in b. 9-10, d in b. 10-11 and a  before d in b. 11. The remaining editions added the majority of accidentals; however, none of them features a fully correct text:

  • GE1 added 6 accidentals – the  before c in b. 10 and the  before d in b. 11 were overlooked;
  • GE2 added to them only a  in b. 11;
  • EE1 added 5 accidentals – the  before d in b. 6 and 10 and the  before d in b. 11 were overlooked;
  • EE2 added to them only  before d in b. 6 and 10.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 6-7

composition: Op. 23, Ballade in G minor

 in A

in FE (→GE,EE)
..

In A, the  hairpin is placed closer to the top stave; however, it is under the L.H. slur. Therefore, one can ponder to which part the mark refers, i.e. R.H. or L.H. According to us, the range of the mark, perfectly corresponding to the g1-b1 step, indicates that the mark applies to the R.H. part. Such ascending motifs, usually within the interval of a second, are often to be found in Chopin's works, while the accompanying  marks were often misinterpreted by the engravers of the first editions (just like here), cf., e.g. the Concerto in F minor, Op. 21, II mov., b. 84 or the Prelude in A minor, Op. 28 No. 2, b. 15-16. In FE (→GE,EE) the hairpin was put in a neutral place, i.e. between the right and the left hand, but it was extended to the entire three-note motif.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in A