mUltimate Chopin

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Issues : Annotations in FES

b. 8

composition: Op. 28 No. 9, Prelude in E major

Notation in A

Notation in FC, FEJ & FES

Notation in FE & CGS

Notation in GE & EE
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Like in the remaining places in which the dotted rhythm and a triplet are juxtaposed, in the main text we give the notation of A. FC reproduced it inaccurately, yet it kept the synchronization of semiquavers; in turn, the notation of the editions is contrary to the convention used by Chopin. Exceptionally in this bar, in FE b, the last semiquaver, comes into contact with the bottom-voice a (probably due to lack of space), which suggests that they are to be played simultaneously, and moreover, in two teaching copies, on the 2nd, 3rd and 4th beats, we can see added dashes indicating a simultaneous performance of the semiquaver with the last quaver of the triplet. Consequently, the notation of the last three beats of that bar is equivalent to the notation of FC in those copies.

category imprint: Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ , Dotted rhythms and triplets

b. 9

composition: Op. 29, Impromptu in A♭ major

 
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We give analogous Chopin fingering inscribed into FEJ and FES.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES , Annotations in FEJ

b. 9-12

composition: Op. 24 No. 1, Mazurka in G minor

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FES has pencil marks in every one of those bars, yet their meaning is difficult to decipher.

category imprint: Source & stylistic information

issues: Annotations in teaching copies , Annotations in FES

b. 9-10

composition: Op. 25 No 8, Etude in D♭ major

Fingering (2-5, 2-5) in FED

Fingering (5, 2-5) in FES

No teaching fingering
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One can wonder whether the 5th finger written in FES means the same fingering Chopin wrote in FED. In other words, whether the fingering of the d2-b2 sixth is to be understood as 2-5 or 1-5. According to us, the first possibility is much more likely, hence in the main text we do not differentiate between these indications.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 9-13

composition: Op. 25 No 9, Etude in G♭ major

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In GC (→GE1), FE and EE there are no naturals raising c to c in bars 9 and 13 and c1 to c1 in bar 12. These are Chopin's obvious oversights, while the signs were added in FED (in bar 9) and FEJ and FES (all).
GE1 also omitted the  raising c1 to c1 in bar 10. GE2 (→GE3) features the correct text. 

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Annotations in FED , Errors in EE , Errors in GE , GE revisions , Omission of current key accidentals , Annotations in FES , Annotations in FEJ