mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors of FC

b. 11-12

composition: Op. 28 No. 20, Prelude in C minor

cresc. - - in A (→FE→EE)

cresc. in bar 12 in FC

No indication in GE

cresc. in ACh

cresc. -, cresc. in CGS
..

In the main text we give the indication after A (→FE→EE). In A its correct placement is not possible due to the abridged notation of those bars; however, we consider the interpretation adopted in FE (→EE) to be accurate – due to the dashes marking the range of the crescendo, all that matters is to determine its starting point, which falls more or less in the middle of the bar. Placing cresc. (with no dashes) only in bar 12 is undoubtedly a mistake by Fontana, aggravated in GE by the omission of the indication.
In the 9-bar version of AB the dynamic course could have been different, hence the missing cresc. does not have to be considered an inaccuracy. An earlier beginning of the crescendo, as it was marked by Chopin in ACh, may be considered an equal variant.

category imprint: Differences between sources

issues: Errors in GE , Errors of FC , Inaccuracies in CGS

b. 11-12

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

2 wedges in A, literal reading

Wedge in b. 11 in FC

4 wedges in FE (→EE)

Staccato dot in b. 11 in GE
..

In the main text, we add – as in bars 9-10 – separate wedges to the :\L.H. octaves. In the discussed bars, this notation also occurs in FE (→EE). The mark in b. 12 was overlooked in FC (→GE), and the other (a wedge in b. 11) was reproduced in GE as a staccato dot.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , FE revisions , Wedges , Errors of FC

b. 12

composition: Op. 25 No 6, Etude in G♯ minor

F-G-F in FE & EE, contextual interpretation of FC

A-G-F in GE1

A-G-F in GE2 (→GE3)
..

The third quaver in FC is incomplete and, hence, illegible. One can see there traces of an unfinished correction – the note head of the A note was deleted, most probably together with the  placed in front of it (which gives A), however, there is no note written instead of the deleted one. GE1 decided to print in this place A; in this version the 5th quaver, devoid of the accidental, is an F. In turn, the reviser of GE2 (→GE3) added a  in front of it, raising it to F. None of these versions can be authentic, which is confirmed by the compatible text of FE and EE with F on the third, and as a consequence, 5th quaver. According to us, it is most probably this version that was the only one written by Chopin and if it had not been for the so-called Terzverschreibung error committed by the copyist, it would have been included also in FC.

category imprint: Differences between sources

issues: Errors in GE , Errors of FC

b. 12

composition: Op. 25 No 6, Etude in G♯ minor

..

The sharp returning c2 appears in [A] (→FC→GE1) and EE1 only before the 9th semiquaver, which is undoubtedly a mistake committed by Chopin (the composer, same as in many other places, concentrated on marking the top voice only). In the remaining sources, the sign was moved to the correct place (FE and GE2 and GE3) or was only added in this place (EE2 and EE3).  

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Authentic corrections of FE , Errors of FC

b. 12

composition: Op. 28 No. 8, Prelude in F♯ minor

in A (→FE→EE)

No sign in FC (→GE)
..

The lack of the  hairpin in FC (→GE) is Fontana's error.

category imprint: Differences between sources

issues: Errors of FC