mUltimate Chopin

Text Compare Notes Sources Description

Issues : Terzverschreibung error

b. 12

composition: WN 17, Polonaise in B♭ major

Chord in JC

Sixth in EF

Another chord in PE

Our suggestion
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The sound of the 2nd quaver intended by Chopin gives rise to doubts. JC has here a b-e1-g1 triad, while EF  – a b-g1 sixth. Each of those versions smoothly combines both with the spread chord d-b-f1 in the previous bar and the next three quavers creating a B major chord. Those versions, and particularly the sixth confirmed in analogous bar 39, may be considered as a fully-fledged alternative for the reconstruction of the version of [A] described below.

PE has here an e-g-e1 chord, most probably including the erroneous in this context e note. Taking into consideration various possibilities of the lithographer's errors, as well as the harmonic content and the accompaniment's voice-leading, we consider the g-b-e1 chord as the most justified reconstruction of the version of [A] and we propose it in such form in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in PE

b. 12

composition: Op. 10 No 11, Etude in E♭ major

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In GE3 (→GE4) the inner note of the 1st chord in the L.H. is a b. It must be a mistake.

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error

b. 12

composition: Op. 64 No 1, Waltz in D♭ major

e & a-c1-g1 in As & AI

e & a-e1-g1 in AII

a & c1-g1 in AIII & A (→FE→GE,EE)
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Originally, the part of the L.H. in this bar was a repetition of bar 10. Unlike in the previous bar, here one of the presentation autographs – AIII – already includes the final version. The version of AII is most probably Chopin's mistake.

category imprint: Differences between sources; Corrections & alterations

issues: Terzverschreibung error , Accompaniment changes

b. 12

composition: Op. 28 No. 19, Prelude in E♭ major

c in sources

e, our alternative suggestion
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There are indications that the c note, present in all sources, could have been erroneously inserted instead of e:

  • in combination with the next bar, parallel fifths in the outer voices occur: c-g2 and c-g2,
  • no pedalling in b. 9-12 suggests that Chopin expected here the same harmonic course as in b. 1-4,
  • another possibility is a lapsus calami of Chopin consisting in the anticipation of the 1st note of the next bar (cf. the commentary on the Prelude in F Major, Op. 28 No. 13, b. 32).

The above statements, however, do not tip the balance in favour of the composer's mistake:

  • parallel fifths in outer voices, unquestionable in terms of sources, can be found in Chopin's oeuvre, especially when the chords share a common note and when at least one is dissonant, e.g. in the Prelude No. 4 in E Minor, b. 3-4 or in the Scherzo in E Major, Op. 54, b. 55-56,
  • Chopin committed a few inaccuracies in the pedalling markings in this Prelude in A, even a few evident mistakes, which could mean that it was written down hastily; therefore, it undermines the arguments based on it.

Therefore, in the main text we keep c, which is present in the sources; we suggest the version with e, assuming Chopin's mistake, as an acceptable variant.

category imprint: Interpretations within context; Editorial revisions

issues: Terzverschreibung error

b. 13

composition: Op. 64 No 3, Waltz in A♭ major

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GE1Ab has undoubtedly an erroneous b-b1 octave as the 3rd crotchet. 

category imprint: Differences between sources

issues: Errors in GE , Terzverschreibung error