mUltimate Chopin

Text Compare Notes Sources Description

Issues : Rhythmic errors

b. 1

composition: Op. 28 No. 13, Prelude in F♯ major

3/2 in sources

6/4 suggested by the editors
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In the sources, the time signature is 3/2. It is Chopin's mistake (the correct time signature is 6/4), perhaps related to the change of notation – Chopin started writing the Prelude with half the rhythmic values, which is evidenced by the reduced number of beams (one of the beams was crossed out) in the 1st accompaniment figure and by the dotted crotchets constituting the 1st R.H. chord (which was crossed out). The initial time signature was carefully blacked out, hence its interpretation is uncertain; however, it was most probably 6/8. 

category imprint: Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Rhythmic errors , Deletions in A

b. 4

composition: Op. 43, Tarantella

GE2 (→GE3→GE4)

A, FC3 (→FE→IE), EE, GE1
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In A, FC3 (→FE→IE), EE and GE1 there is no extending dot on minim c1 on the first beat of RH but the dot apears upon the theme’s repetition in corresponding b. 180, which allows us to assume with great probability that b.4 is inaccurate. The relevant revision was already made in GE2 (→GE3→GE4).

category imprint: Interpretations within context; Differences between sources

issues: Rhythmic errors , Errors of A

b. 4-12

composition: Op. 10 No 5, Etude in G♭ major

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In A d in bars 4 and 12 is a dotted minim. The mistake, corrected in FE (→GE,EE), probably stems from the original notation of the Etude in two-time longer rhythmic values. What is interesting is the fact that in bar 52 Chopin noticed and corrected this mistake while still writing A.

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

issues: Rhythmic errors , Errors of A , Authentic corrections of FE

b. 4

composition: Op. 28 No. 21, Prelude in B♭ major

e1 on 6th quaver in A (→FE)

e1 on 6th quaver, L.H. finger 1 in EE1

e1 on 6th quaver, R.H. finger 2 in FES

e1 on 3rd beat, under slur in FC (→GE)

e1 on 3rd beat, no slur in EE2
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Interpreting the top note of the 6th L.H. quaver, e1, as a R.H. crotchet on the 3rd beat of the bar is almost certainly Fontana's mistake. The copyist was most probably misled by the note having been written on the top stave, the poorly visible top fragment of the stem combining that note with c and the dot extending the g1 minim at the beginning of the bar having been crossed out in A (the crossing-out most probably provided for the discussed e1 to be performed with the right hand; in addition, it was probably to be completed by a crotchet rest, which Chopin, however, did not do). Having completed the rhythm of the R.H. melody with that note, Fontana also led to it the phrase mark encompassing the first phrase. The change in EE2 must have been introduced under the influence of GE1. In the main text we give the notation of A (→FE→EE1), supplemented by a crotchet rest.

To eliminate the possibility of creating incoherent combinations of variants from different notes, we include the fingering of EE and FES, which applies to the e1 quaver, here, in the variants including that quaver.

category imprint: Differences between sources

issues: EE revisions , Rhythmic errors , Deletions in A , Errors of FC , Inaccuracies in A

b. 4

composition: Op. 2, Variation IV, primitive version

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While writing AsI, Chopin committed 2 rhythmic mistakes – the third bass F is a quaver, and not a semiquaver, while the 4th R.H. hemidemisemiquaver group was initially written with five beams, hence in twice as short rhythmic values. The latter was subsequently corrected by combining the two topmost beams into one.

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

issues: Rhythmic errors