mUltimate Chopin

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Issues : Inaccuracies in FE

b. 1-12

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

..

Bars 1-12, marked in A by Chopin with a conventional repetition sign, were rewritten in the editions. According to us, it is an arbitrary decision of the French editor, probably resulting from graphic issues – from the layout of the text on the pages. Consequently, analogous places display minor differences, which – due to the repetition in A – were certainly not intended by Chopin. The discrepancies mainly result from oversights and inaccuracy of the engravers and, to a certain extent, from Chopin's superficial review. Due to the fact that in the main text we preserve the notation of A, in the remaining sources, we adopt two manners of displaying the differing elements in the repeated bars 1-12:

  • we put the elements which appear only the first time in parentheses;
  • we put the elements which appear only the second time in square brackets.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies

b. 1-2

composition: Op. 64 No 2, Waltz in C♯ minor

 in A

 in FE (→EE,GE1no2,GE1op→GE2op→GE3op)

 in GE2no2
..

Shifting the  hairpin so that it starts from an upbeat, is, according to us, rather an inaccuracy of the engraver of FE, hence, in the main text we give the undoubtedly authentic sign of A. However, since an alternative possibility of Chopin's proofreading in FE cannot be entirely excluded, the version of FE, repeated in all remaining editions except for GE2no2, can be considered to be a potentially authentic variant. In turn, shortening the sign in GE2no2 is undoubtedly a revision, as a part of which the  signs in all analogous bars were unified (bars 1-2, 5-6, 17-18 and 21-22).

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , GE revisions , Authentic corrections of FE

b. 1

composition: Op. 35, Sonata in B♭ minor, Mvt IV

in GC (→GE) & EE2

No title in FE (→EE1)
..

While writing to Fontana in August 1839, Chopin described this movement of the Sonata as "a short finale." The omission of the convention "Finale" title in FE (→EE1) seems to be, therefore, a common oversight.

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE

b. 1

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

 

Long accent in A

Short accent in FE (→GE,EE)
..

In A Chopin undoubtedly wrote a long accent. In all editions and impressions of the Waltz, a short accent was placed.

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE

b. 1-32

composition: Op. 64 No 2, Waltz in C♯ minor

..

In A the  asterisks are put either after the 3rd crotchet in the bar (or a corresponding it rest) or before, depending on the fact whether the entire bar is based on the same chord or not. In FE the differentiation was lost – all signs are put either under or slightly after the 3rd crotchet (rest), whereas the differences are not related to the notation of A (or – consequently – to the harmony). The remaining editions reproduce the version of FE more or less accurately, although in GE the signs are generally placed after the 3rd crotchet, while in EE – rather below. In our transcriptions of particular sources, we assume that the asterisks placed in an inaccurate manner – most often slightly after the 3rd crotchet – are considered by us to be compatible with the majority of such signs in a given phrase of a discussed source.

A few particular situations – bars 4, 15, 20, 22, 24, 29, 30 and 31 – are discussed separately.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies