mUltimate Chopin

Text Compare Notes Sources Description

Issues : Centrally placed marks

b. 232

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

 in FE (→GE,EE)

 suggested by the editors

Different interpretation of sources
..

The position of the  mark is insufficiently justified, as far as music is concerned – if the new phrase was supposed to be performed piano (following the previous forte), it should be performed so rather from the beginning of the bar. Therefore, it would be an example of applying the manner of placing indications within their scope of validity. However, the mark in [A] may have been only slightly moved beyond the 1st quaver in the L.H. due to lack of space between the staves. In the main text, we take an attempt to approximately reconstruct that placement; it can also be interpreted literally as ​​​​​​​ right after the beginning of the bar which would perform a double role – end the previous phrase and begin a new one.   

category imprint: Editorial revisions

issues: Centrally placed marks

b. 237

composition: Op. 42, Waltz in A♭ major

 in EE, contextual interpretation of FEG

 in FE1

No marking in FE0 (→GE)
..

It is not clear what Chopin wanted to underline with the  mark: a sudden change of the chord at the beginning of the bar or the signal chord motif after the rest. The first possibility is suggested by the composer's entry in FEG (which was, after all, not included in GE) and the notation of EE, while the second one – by the notation of FE. It must be emphasised that even the fact of writing this mark under the rests, as it is in FE, does not exclude its validity from the beginning of the bar (possible examples of using such a manner – the Etude in C major, Op. 10 No. 1, bar 45 or in G, Op. 10 No. 5, bars 34-35).  

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

issues: Errors in GE , Authentic corrections of FE , Authentic corrections of GE , Centrally placed marks , Authentic corrections of EE

b. 253

composition: Op. 21, Concerto in F minor, Mvt III

 at end of bar in sources

 at beginning, suggested by the editors
..

While writing , Chopin probably used a former convention, according to which a sign was put near to the middle of the range of its validity (in this case bars 253-254). This kind of notation is probably to be found in, e.g. the Etude in C major, op. 10 no. 1, bar 45.

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

b. 262

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

No sign in FE (→GE,EE)

[] suggested by the editors
..

When interpreted literally, the authentic indications of dynamic nature do not create a coherent vision – the dolciss. indication appears in the middle of the bar after  in bars 260-261, without noticeable connection to melody, harmony or rhythm. Due to this reason, we suggest adding a ​​​​​​​ mark in the main text. However, it is only one of possible interpretations of the original notation – it cannot be excluded that dolciss. should start earlier, i.e. at the beginning of the bar or after the rest. Therefore, it would be an example of the use of the early convention of placing indications within their scope of validity (Chopin would apply it on a number of occasions, particularly in his earlier pieces).

category imprint: Interpretations within context; Editorial revisions

issues: Centrally placed marks

b. 262

composition: Op. 2, Variations, complete

on 4th beat in A & FESB

on 3rd beat in GE (→FE1,EE)
..

According to us, the placement of the  indication is an example of Chopin using here a convention of writing indications within and not at the beginning of the scope of their validity. Due to the above, in the main text we give preference to the version of GE (→FE1,EE). The version of FESB resulted from the engraver's inaccuracy, and its compliance with A must be accidental, since throughout the entire piece, no features of FESB suggest that this publisher could have had an insight into A. 

category imprint: Interpretations within context; Differences between sources

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