mUltimate Chopin

Text Compare Notes Sources Description

Issues : Last key signature sign

b. 37

composition: Op. 28 No. 12, Prelude in G♯ minor

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At the beginning of the bar, Chopin wrote cautionary sharps before a1(2) in A (→FC→GE). According to us, since a1(2) was restored at the end of the previous bar, these accidentals are unjustified; they were removed in FE (→EE1) and restored – most probably after GE1 – in EE2. In the main text we omit these accidentals; in turn, we add sharps before the L.H. octave.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Cautionary accidentals , FE revisions , Last key signature sign

b. 37

composition: Op. 28 No. 17, Prelude in A♭ major

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The crossing-out of the D-d octave at the beginning of the bar, visible in A, suggests that moving the bass line in b. 37-40 an octave lower (with respect to the version of FCI) was an idea born in the process of writing A or fresh enough for Chopin to commit a mistake in the first of the lowered octaves. In A we can see a crossed-out  before the first d2 note in the R.H., which is an example of Chopin's uncertainty as to the key signature.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Bass register changes , Last key signature sign

b. 39

composition: Op. 26 No 1, Polonaise in C♯ minor

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In A Chopin undoubtedly overlooked the  raising g1 to g1 in the written grupetto. He did not correct the mistake in the proofreadings of FE either. The necessary sign was added only by the revisers of GE2 (→GE3→GE4→GE5) & EE2.

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

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Errors of A , Last key signature sign

b. 39

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

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In the main text we omit the poorly justified cautionary flats before d1 and d2. Chopin could have feared that the naturals raising e1(2) to e1(2) could also suggest the use of d1(2). Cautionary flats before d, following e, are present also in bar 43, 383 and 387. In the first of them, the unnecessary sign was removed in the proofreading of FE, perhaps by Chopin himself.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 39

composition: Op. 30, Mazurka in D♭ major

g2 in FC (→GE1) & FE (→EE)

g2 in GE2

Our variant suggestion
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There are two main arguments supporting the hypothesis that Chopin could have committed a mistake by leaving the 1st note in the bar without a  resulting in 

g2:

  • analogy with the three previous phrases, in which the 1st R.H. note always (both in C and B) constitutes the interval of a major ninth with the bass;
  • Chopin's hesitation, quite frequent, as to the presence of the last accidental in the key signature, in this case the  to g. The fact that Chopin was uncertain whether it was g or g that required an accidental is proven by a  to g2, put twice, in bars 27 and 35. Therefore, if Chopin provided the g2 note with a flat, which was actually totally unnecessary, it is logical to assume that a respective note without a  is to be interpreted as g2.

Due to the above, in the main text we suggest a variant solution with affinity to g2.
A natural was added in GE2, probably on the basis of a comparison with bar 31.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Omission of current key accidentals , Last key signature sign