mUltimate Chopin

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Issues : Uncertain notes on ledger lines

b. 214

composition: Op. 23, Ballade in G minor

Chord with e1 in A, probable reading

Chord with no e1 in A (possible reading→FE→GE,EE)
..

On the basis of the available photograph of A, it is difficult to say whether the chord at the beginning of the bar includes e1. It is difficult to assess such situations even on the basis of original manuscripts, e.g. in the Etude in A, Op. 10 No. 10, b. 76 (a, interpreted by the engraver and probably inexistent) or in the Etude in G, Op. 10 No. 5, b. 15 (overlooked e1, probably existent). As it would be the only difference between these two otherwise identical four-bar sections, we consider it unlikely that Chopin would have wanted to introduce such a subtle difference into these dashing and energetic phrases. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Uncertain notes on ledger lines

b. 223

composition: Op. 23, Ballade in G minor

a-c1-d1 in A

a-d1 in FE (→GE,EE)
..

The absence of c1 in FE (→GE,EE) resulted, according to us, from a misinterpretation of A, in which this crotchet actually seems to include only 2 notes. However, the unnatural protrusion on the ledger line in A almost certainly proves that the note is there – cf., e.g. the thickness of the ledger lines in the chord on the 2nd crotchet in this bar. Moreover, although this place occurs only once, a similar D7 chord with an identical resolution is to be found a number of times (b. 217, 219 and analog.), always as an a-c1-d1 chord.

category imprint: Differences between sources

issues: Errors in FE , Uncertain notes on ledger lines

b. 276

composition: Op. 21, Concerto in F minor, Mvt I

Quaver c1 in A & FE (→EE)

Crotchet c1 in GE
..

A line pointing down next to ledger lines (most of the time the first bottom one, i.e. c1 or E – see e.g. the last E in bar 280), sometimes appearing in Chopin's autographs, misled here the engraver of GE. The additional stem is already absent in FE (→EE), which could have been, but did not have to, a result of Chopin's proofreading. However, one has to admit that in this case the extension of c1 is quite reasonable, as far as the harmony is concerned. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE , Uncertain notes on ledger lines

b. 290

composition: Op. 2, Variations, complete

a2-c3 third in AsI & A

Single notes in GE (→FESB,EE1→EE2)

3 thirds in FE & EE3
..

The initial version of AsI and A, with only one a2-c3 third, was additionally depleted by GE (→FESB,EE1→EE2), which did not notice the a2 crotchet at the beginning of bar 291 (it can be difficult to establish the presence of a middle note on ledger lines in Chopin's autographs, although in this case the a2 notehead is quite distinct). While proofreading FE1 (→FE2) Chopin added bottom thirds to the entire three-note motif, which was also taken into account by EE3.

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

issues: Errors in GE , Authentic corrections of FE , Uncertain notes on ledger lines

b. 294

composition: Op. 2, Variations, complete

c1 in chord in AsI & A

No note in GE (→FE,EE)
..

The absence of c1 in the last chord is most probably an oversight by the engraver of GE (→FE,EE) caused by the notation of A, which is not entirely clear. The presence of this note in AsI, however, is a strong argument for a similar interpretation of the notation of A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in GE , Uncertain notes on ledger lines , Inaccuracies in A