mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic corrections of GE

b. 30

composition: Op. 24 No. 3, Mazurka in A♭ major

in AI and GE2

No mark in A

in GE1 (→FE→EE)

Our suggestion
..

There is no asterisk  in A . In the main text we give that mark at the end of the bar, just like Chopin did in the analogous bar 6. In GE1 (→FE→EE) the mark was added under the rest on the 3rd beat of the bar,  following the usual manner in which such marks were interpreted in that edition. In the editors' opinion, editorial revision is slightly more probable here than Chopin's correction. In GE2,  is placed earlier, before the rest. The mark in AI (in bar 6, of which bar 30 is a repetition) has a similar position, yet conformity with GE2 is definitely accidental.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A , Authentic corrections of GE

b. 31

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

No slurs in A & GE2

Slurs in GE1 (→FE→EE)
..

The slurs in GE1 (→FE→EE) could have been added by Chopin. However, taking into account the fact that some of additions of slurs in GE1 are questionable, as far as Chopin's participation in their addition is concerned, in the main text we consistently leave the version of A (cf. bars 29-31).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 34

composition: Op. 25 No 1, Etude in A♭ major

6 notes in AI, A (→CDP), FE, EE & GE2 (→GE3)

5 notes in GE1
..

The version of GE1, in which the last figure in bar 34 was adjusted to the rhythmic scheme valid from bar 32 and used also in bar 29 (after corrections) and in the 2nd half of bar 21 (also after corrections), seems to be a result of another Chopin remake. The conclusion is reinforced by lack of reasonable alternative explanation for the creation of this version – there is no reason to commit a mistake here or to introduce a revision which would interfere with the faultlessly and clearly written text of A.
GE2 (→GE3) returns the version of A. Such changes were introduced on a regular basis in Chopin reeditions of Breitkopf & Härtl – cf., e.g., bar 21.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 35-36

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

No slur in A

Slur in GE (→FE→EE)
..

The slur appearing in the editions, compliant with the slur in the parts of all bass instruments in Morch, may be safely considered to be added by Chopin in the proofreading of GE1.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 35-36

composition: Op. 2, Variations, complete

4 staccato dots in A

8 wedges in GE (→FE,EE,FESB)

8 dots suggested by the editors
..

In A the staccato markings over the semiquavers are evidently represented by dots and clearly differ from, e.g. the wedges at the beginning of b. 35 or b. 39. According to us, the wedges in GE (→FE,EE) were an arbitrary decision of the engraver, who blithely approached the Chopinesque staccato markings on a number of occasions – cf., e.g. b. 10. By contrast, adding marks on the 4th beat of the bar, although without effect on performance – in both cases the marks serve as an example and should be propagated to all semiquavers in these bars – seems to be justified and may have come from Chopin (see also the note on b. 39-40). However, we believe that these two issues can be considered independently, hence in the main text we give dots (after A) in the entire 2nd half of the bar (after GE1).

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of GE , Wedges