mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors in the number of ledger lines

b.

composition: Op. 23, Ballade in G minor

g3 in A

c4 in FE1

b3 in FE2, GE & EE
..

The version of A is most probably a Terzverschreibung, which would often happen to Chopin with a larger number of ledger lines – cf., e.g. the Polonaise in C minor, Op. 26 No. 1, b. 5 or the Concerto in F minor, Op. 21, II mov., b. 83. Chopin corrected it twice while proofreading FE – FE1 includes c4, and it is only just FE2 and the remaining editions that include b3.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of FE

b. 4

composition: Op. 2, Variation IV, primitive version

e4, d4, c4 in AsI, total interpretation

e4, d4, c4 in AsI, total interpretation

e4, d4, c4 in AsI, probable basic version (no grace notes)

e4, d4, c4 in AsI, probable basic version (no grace notes)

3 times f3 in A

3 times f3 in A
..

This bar belongs to one of the few places in which Chopin, while working on this variation, changed the shape of the melody formed by the R.H. topmost notes (see also bars 11 and 24). The interpretation of the AsI notation presents some difficulties, since it is uncertain whether the 3 grace notes, which could have been added later, were supposed to complement the figuration or whether they were an original way to mark the change of concept of the topmost notes to the final version. The latter is supported by analogous bar 20, in which AsI includes the final version entered without hesitation. In either case, the notation of these grace notes is puzzling, since each is provided with a different form: a semiquaver, a slashed quaver, a quaver, respectively. Perhaps Chopin wanted to try out different forms of notation to see which one would suit him best.
Moreover, both manuscripts differ slightly in the version of the 2nd and 4th L.H. figures – see the note below.  

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Terzverschreibung error , Errors in the number of ledger lines , Accompaniment changes , Main-line changes

b. 5

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

..

A (→FE→GE1,EE) includes an erroneous A2-C tenth. It is a patent error of Chopin in the number of the ledger lines. The pitch of the note was corrected in GE2 (→GE3→GE4→GE5).

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in the number of ledger lines , Errors of A

b. 6

composition: Op. 2, Variation IV, primitive version

..

When writing the melody semiquavers without an octave sign, Chopin committed 14 mistakes in the entire variation, including 6 Terzverschreibung mistakes, which in this context consist in writing one ledger line too many. The list below shows the mistakes:

  • bar 6 – d4 instead of b3, d4 instead of c4, d4 instead of b3 (the first mistake was perhaps corrected by combining two ledger lines into one);
  • bar 7 – all 4 notes, c4 instead of a3, d4 instead of b3, f4 instead of c4, f4 instead of d4;
  • bar 9 – e4 instead of c4, e4 instead of f4;
  • bar 10 – d4 instead of c4;
  • bar 19 – b3 instead of c4;
  • bar 22 – b3 instead of c4;
  • bar 23 – b3 instead of a3, b3 instead of c4.

The letter names of notes written over the notes allow us to easily detect these mistakes.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Terzverschreibung error , Errors in the number of ledger lines

b. 16

composition: Op. 39, Scherzo in C♯ minor

..

GC has here a mistaken chord e-f-a-c1-d1 (no ledger line above the two upper notes). The error was corrected in GE.

category imprint: Source & stylistic information

issues: Terzverschreibung error , Errors in the number of ledger lines , Errors of GC