mUltimate Chopin

Text Compare Notes Sources Description

Issues : Annotations in FEJ

b. 18

composition: Op. 45, Prelude in C♯ minor

No accidentals (d) in FE1

 d in FE2

lowering D to D and d1 to d1 in FEJ

Three  D in GE & EE
..

FE1 does not have a single accidental in this entire bar, which means that the diminished chord d-f-a is the harmonic basis. This is how it was understood in FE2, adding a cautionary  before the 1st quaver of the L.H. Chopin's corrections in FEJ and the error-free version of GE show that Chopin's intention here was to have a D major chord as the harmonic basis. The reviser of EE added the relevant naturals here too. Cf. a further note for this bar. 

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FEJ , FE revisions

b. 18-20

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES
..

Similarly to analog. b. 15, the fingering versions of FEJ and FES differ in the performing manner of the e crotchet in b. 19. For the remaining notes (until c in b. 20), both copies indicated the same fingering, yet in a different way. Under the f quaver in b. 19, FES initially contained the digit '1', which was then transformed into a '2'. According to us, it was not a change of a finger, but a correction of a mistake.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ

b. 20-21

composition: Op. 28 No. 6, Prelude in B minor

Fingering written into FEJ

Fingering written into FES

No teaching fingering

Our variant suggestion based on FEJ & FES
..

As was the case with b. 16-17, FEJ and FES indicate the pass of the 1st finger in a different place. However, both copies are in agreement about the F minim, to which the 2nd finger is assigned in FEJ, and, implicitly (on the basis of b. 17), also in FES. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Differences in fingering , Annotations in FES , Annotations in FEJ

b. 22

composition: Op. 45, Prelude in C♯ minor

g1-a1 in FE (→EE)

a1-b1 in GE & FEJ
..

The fact that FE (→EE) have got a mistaken version here is testififed by the version of GE and a hand-written correction in FEJ.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FEJ

b. 22-24

composition: Op. 25 No 7, Etude in C♯ minor

Simplified version in FEJ (contextual interpretation)

Simplification with fingering in FES (interpretation)

No teaching simplifications
..

In FES and FEJ the runs of the L.H. were reduced to four last notes, which were entrusted with the value of a semiquaver. It is undoubtedly a facilitation aiming at possibilitating an amateur performance of the Etude to the technically less advanced pianists. As in both places FES includes Chopin fingering, concerning the original, full version of these passages, we consider the introduced facilitations as the ossia più facile versions and we include them in the form of variants of the basic text of these sources.

The notation of FEJ is of a more draft nature, transferring only the general idea of this facilitation. It is probably the reason of leaving the a1 note in the last chord in the R.H. in bar 24, which is gauche from the piano and sound point of view.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ