mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 7-11

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

Staccato dots in AI & FE (→GE,EE)

No marks in A
..

The incomplete staccato indications in A were added in a proofreading of FE (→GE,EE). What is interesting is the fact that all dots are also in AI. 

category imprint: Differences between sources

issues: Authentic corrections of FE , Inaccuracies in A

b. 7-8

composition: Op. 10 No 10, Etude in A♭ major

..

The natural raising a1 to a1 in bar 7 and the  returning d1 in bar 8, omitted in A, were added in a proofreading of FE (→GE,EE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omissions to cancel alteration , Authentic corrections of FE , Inaccuracies in A

b. 7

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

on 6th quaver in A, probable reading

on 5th quaver in A (another reading→FC)

on 3. beat in A (possible reading→FE→EE)

on 2nd beat in GE

[ ] suggested by the editors

 on 3rd beat, our alternative suggestion
..

The position of the second  marking in this bar in A (→FC) is questionable. It is placed under the 2nd and 3rd quavers of the middle triplet (due to the correction of the 2nd quaver, they are very close to each other); it can also be assigned to the 1st note of the 3rd triplet (the version of GE is almost certainly contrary to the idea of Chopin). According to us, in A it seems that the mark should be associated with f on the 6th quaver of the bar, whereas in FC with b on the 5th one. Along with the version of FE, it exhausts the possibilities of a direct interpretation of this notation.
We suggest two more solutions drawn from the unequivocal, authentic pedalling of similar phrases in b. 5 and 17.
A similar situation can be found in b. 39. 

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in A

b. 8

composition: Op. 28 No. 14, Prelude in E♭ minor

  in A (→FC→GE)

  in FE (→EE)
..

In A the direction of the 2nd dynamic hairpin is unclear – the mark could be described as a  with an additional, shorter arm, which constitutes an angle typical of  marks. According to us, the length of that additional arm points to its accidental nature, and the mark should be interpreted as diminuendo. This is how it was interpreted by Fontana in FC (→GE). The  hairpin in FE is not so much a consequence of the ambiguity described above as a result of a mistake or a revision, which is suggested by a similar range of marks (in that edition) in this and adjacent bars. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Inaccuracies in A

b. 8

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

..

In A (→FC,FE) there is no  before the 2nd semiquaver in the 2nd half of the bar (a2). The patent inaccuracy was corrected in GE and EE.

category imprint: Interpretations within context; Differences between sources

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