mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in FC

b. 13-14

composition: Op. 28 No. 18, Prelude in F minor

New cresc. from bar 13 in A, literal reading

cresc. continued in bar 14 in FC (→GE)

cresc. continued in bar 13 in FE (→EE)
..

In the main text we reproduce the notation of A literally, in which cresc. in b. 13 somehow initiates a second wave of growth of dynamics. However, it is likely that Chopin meant it to continue the cresc. that began in b. 9, while its repetition in b. 13 was supposed to remind us what the dashes concern (b. 13 opens a new page in A). Therefore, the version of FE (→EE), in which this is how it was interpreted, may be considered an equal variant. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FC , Inaccuracies in A

b. 13-14

composition: Op. 28 No. 18, Prelude in F minor

Dots & wedges in A (→FE→EE)

4 dots in FC

3 dots in GE

4 wedges suggested by the editors
..

Each of the chords on the 2nd beat of these bars is provided with a pair of staccato marks in A (→FE→EE), one for each hand. The change of notation with respect to the previous bars can be explained by the change of layout – the R.H. chords are written entirely on the top stave here, as a result of which the validity of the marks placed over the R.H. in the L.H. is not so obvious anymore. According to us, it is another argument confirming the accuracy of our interpretation of the marks in b. 9-12.
The use of staccato dots in b. 13 is problematic – taking into account the fact that both before and after (b. 15) Chopin wrote wedges, we consider the notation of this bar to be inaccurate in this respect; therefore, in the main text we suggest wedges in both discussed bars. The versions of FC and GE resulted from inaccuracies of the copyist and from an oversight of the engraver of GE.

category imprint: Differences between sources; Editorial revisions

issues: Errors in GE , Wedges , Inaccuracies in FC

b. 14-15

composition: Op. 25 No 4, Etude in A minor

 in A (→FE)

 in FC (→GE)

 in EE
..

The moment of beginning  hairpins falls in another place in each of three sources certainly (A) or possibly (FC and EE) representing the signs written by Chopin. At the same time, while the sign in EE may be considered to be compatible with A, crescendo in FC (→GE) clearly defines another dynamic nuance. In the main text we follow A (→FE), in which the range of the sign corresponds to the hairpins in analogous bars 6-7.

category imprint: Differences between sources

issues: Inaccuracies in FC

b. 14-15

composition: Op. 31, Scherzo in B♭ minor

in A (→FE) & GE

in FC & EE
..

In accordance with the analysis of the  or  marks written by Chopin in A in this and analogous pairs of bars (see b. 6-7), in the main text we give an averaged, more or less one-bar long hairpin featured in FC and EE. According to us, all marks, regardless of their length, should be interpreted as long accents.

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in FC

b. 15

composition: Op. 43, Tarantella

A, FC3 (→FE→IE), EE, GE4
 
..

No slur in GE1 (→GE2→GE3) in b. 15 may be most certainly recognised as an error made by the copyist or engraver.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FC