mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors of A

b. 12

composition: Op. 43, Tarantella

GE2 (→GE3→GE4)

A, FC3 (→FE→IE), EE, GE1
..

In A, FC3 (→FE→IE), EE minim c1 is not dotted. In the main text we present the dotted variant. Compare annotation in b. 4.

category imprint: Differences between sources

issues: Rhythmic errors , Errors of A

b. 12-13

composition: Op. 10 No 6, Etude in E♭ minor

g not tied in A (→FE→GE,EE)

Our suggestion
..

We consider the lack of hold of g as an error of A, which was not corrected in any of the subsequent sources. Chopin's more relaxed approach at the time of writing the first phrase of the Etude is indicated by other undeniable mistakes – lack of  before d at the beginning of bar 12 and, above all, overlooking the accidentals in bar 15.

category imprint: Editorial revisions

issues: Errors of A

b. 12

composition: Op. 10 No 7, Etude in C major

e2 in A

e2 & e2 in FE (→GE,EE)
..

Lack of the  returning e2 on the 7th semiquaver and the  returning e2 two semiquavers later clearly suggests the use of the C minor chord in the middle of this bar. Chopin's proofreadings of FE (→GE,EE), however, ensure that, similarly as in bar 4, the composer's intention was the C major chord (in A analogous bar 37 is already written correctly).

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

issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE

b. 12

composition: Op. 10 No 8, Etude in F major

Chord in A

Rest in FE (→GE,EE)
..

The chord which opens the bar in A is written without the  before the topmost note, which is an obvious oversight. Chopin resigned from this chord, while proofreading FE (→GE,EE). The traces of its deletion – along with the arpeggio – are clearly visible in the subsequent copies of FE. Cf. bar 13.

category imprint: Differences between sources; Corrections & alterations

issues: Omission of current key accidentals , Errors of A , Authentic corrections of FE

b. 12-14

composition: Op. 28 No. 6, Prelude in B minor

No accidentals in A (→FC→GE1)

Naturals in FE (→EE), GE2 (→GE3) & CGS
..

The version of A (→FC→GE1), in which these three bars are based on the c-e-g diminished chord, most probably resulted from an oversight of the naturals lowering c to c (in various octaves) by Chopin. The correctness of the version of FE (→EE) is mainly evidenced by three teaching copies bearing clear traces of having been developed with Chopin, in which the C major chord as the harmonic basis of those bars was not questioned; it is also evidenced by CGS, which was written by a person who was both close to Chopin and a witness to the creative process of the cycle of Preludes. The naturals visible in FC are an addition by H. Scholtz, coming from the 1870s. The change introduced in GE2 could have been drawn from FE or a result of an accurate analysis of the harmonic structure of the piece by the reviser.

category imprint: Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , FE revisions , Last key signature sign