mUltimate Chopin

Text Compare Notes Sources Description

Issues : Enharmonic corrections

b. 27

composition: Op. 10 No 2, Etude in A minor

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The sources prove Chopin's hesitation concerning the notation of the 3rd semiquaver on the 2nd and 3rd beats of the bar. It is best seen in Ap, in which the clear traces of corrections are visible in the 2nd group of the notes, and possible ones – in the 3rd one. In the case of the first of the corrections, a2, most probably, was changed to g2, however, in the photograph available to the editors of mUltimate Chopin, one cannot certainly determine the direction of the changes. The result of the possible second correction is obvious – g2.
In the remaining sources the difference concerns only the 7th note, which in CLI is written as g2 and in FE (→GE,EE) – as a2. The hesitation was probably a result of the natural returning a2 in the 3rd group of semiquavers (added in one of the later proofings).  

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

issues: Errors in FE , Enharmonic corrections , Authentic corrections of FE

b. 27

composition: Op. 10 No 9, Etude in F minor

E in AI & A

F in FE (→GE,EE)
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The notation with E, present in both autographs, was changed – most probably by Chopin – in a proofreading of FE (→GE,EE). According to us, it is however possible that the proofreading concerned an erroneous version – e.g., a sole note head without the ledger line and natural, due to which it looked like an F. It undermines the expression of this change as proving Chopin's preference of the notation with F instead of E. In the manuscripts the progression of the bass in bars 26-27 is written in a much more natural way: B1-C-E-G-B than in the editions: B1-C-F-G-B.

category imprint: Differences between sources

issues: Enharmonic corrections , Authentic corrections of FE

b. 27

composition: Op. 10 No 4, Etude in C♯ minor

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In AI Chopin initially wrote the 6th semiquaver as c2, then he moved the note head one second up. The result of the correction is not entirely clear, as the accidental before the note became an illegible inkblot. 

category imprint: Corrections & alterations

issues: Enharmonic corrections

b. 27

composition: Op. 28 No. 16, Prelude in B♭ minor

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In A one can see a crossed-out  at the pitch of A before the G quaver. It means that, according to us, Chopin wanted to write that note as A at first.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Enharmonic corrections

b. 28-30

composition: Op. 29, Impromptu in A♭ major

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On the 4th and 10th quavers in A there are visible deletions and corrections of notation from e into d.

category imprint: Corrections & alterations

issues: Deletions in A , Enharmonic corrections