mUltimate Chopin

Text Compare Notes Sources Description

Issues : Centrally placed marks

b. 1

composition: Op. 10 No 1, Etude in C major

No indication in CLI

 in FE (→GE1→GE2­→GE3­→GE4, →EE) 

Our suggestion (GE5)
..

The  indication in FE (→GE1→GE2→GE3→GE4, →EE) seems to concern only the semiquavers in the R.H. According to us, as it is hard to suppose that the long resounding octaves in the L.H. were to be played in different dynamics, it should be assumed as an inaccuracy of the notation. A respective change was also introduced in GE5. See also bar 45.

category imprint: Interpretations within context; Differences between sources

issues: Centrally placed marks

b. 1

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

 in A (→FE) & GE2 (→GE3)

 in #CF

 in GE1 & EE
..

According to us, placing  in A only at the beginning of bar 1 is an example of Chopin's using a manner of putting the indications inside, and not at the beginning of, the area of their validity, which is not used at all today. It is also possible that Chopin feared the suggestion that the indication refers only to the L.H., yet this risk also seems to be negligible in our times. In FC Fontana put the sign slightly earlier, so that in GE1 it was printed at the very beginning of the piece. The interpretation was reviewed in GE2 (→GE3).

category imprint: Differences between sources

issues: GE revisions , Inaccuracies in FC , Centrally placed marks

b. 1

composition: Op. 11, Concerto in E minor, Mvt I

 in Atut, literal reading

 in Atut, possible interpretation

 in Atut (other interpretation→FE→GE,EE)
..

The manner the  mark is written in Atut makes it unclear whether the mark concerns the beginning of the piece or the beginning of bar 1, like it was interpreted in FE (→GE,EE). In the main text we adopt the second interpretation, since according to the most frequently applied rule, the marks are written in the place from which they are valid or slightly earlier. A dynamic mark after the bar line separating the upbeat can be found in Chopinesque autographs – cf. e.g. the Etude in A minor, op. 25, no. 4.

category imprint: Graphic ambiguousness; Differences between sources

issues: Centrally placed marks

b. 1

composition: Op. 30 No. 1, Mazurka in C minor

in the anacrusis in FC (→GE)

in bar 1 in FE (→EE)
..

It is unclear how the difference in the placement of the initial  indication occurred. Perhaps it is just a difference in the interpretation of a mark written between the upbeat and the beginning of bar 1 – cf., e.g. the autograph of the Prelude in A, Op. 28 No. 7. In the main text we put the mark in accordance with the principal source, that is FC.

category imprint: Differences between sources

issues: Centrally placed marks

b. 2-4

composition: Op. 10 No 12, Etude in C minor

Indications in A, literal reading

Indications in A, interpretation

FE (→GE,EE) 
..

The performance markings of A quite significantly differ from the ones included in FE (→GE,EE). Due to the fact that next to the omission of verbal indications in A the accents in the R.H. in bars 2 and 4 were added, we consider the printed version as proofread by Chopin and we adopt it in the main text. The  mark in bar 4 is, according to us, written in compliance with a sometimes applied by Chopin convention, according to which the indications are not arranged at the beginning of the area they consider, e.g., a motif, yet closer to its middle.

category imprint: Differences between sources

issues: Centrally placed marks