mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic post-publication changes and variants

b. 315-316

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

No slurs in FE (→GE,EE)

Slurs written into FED
..

In the main text, we include the slurs added in FED, running from the 2nd semiquaver to the octave on the 2nd beat of the bar. According to us, it specifies the notation and harmonises with the printed notation – cf. the slurs in the L.H. in these bars and the slur in the R.H. in bar 317.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants

b. 401

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

f1 in FE (→GE,EE)

f1 in FEH, probable reading
..

The mark in the form of a diagonal cross written in FEH before the 1st grace note of the bar is probably a ​​​​​​​ raising f​​​​​​​1 to f​​​​​​​​​​​​​​1. At the same time, it cannot be excluded that, according to the intention of the writing person, it should apply both to this grace note and the first out of four small notes ending the trill. However, we have to point out that this mark may be simply one of the crosses with which Chopin would often mark the places discussed during a lesson.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 522

composition: Op. 31, Scherzo in B♭ minor

g2 in A (→FC→GE, →FE→EE)

g2 in FESf
..

The natural lowering g2 to g2, written in ink in FESf, defines a version that, according to us, may be considered a potentially authentic variant:

  • Relation to the preceding, ascending sequence (in b. 520) was not approached by Chopin rigorously – cf. the prototype of those motifs in b. 53-56, where a descending chromatic sequence corresponds to an ascending diatonic sequence.
  • The resulting figure is strictly analogous to the next segments of the progression in b. 530 and 534.
  • The intervals resulting between the transitional notes and the ones belonging to the chords in b. 520-521 are whole tone e2-f2, semitone g2-a2 and semitone b2-c3, respectively; the figure in b. 522-523 includes the same scheme of descending intervals when the 4th quaver is g2: whole tone b2-a2, semitone g2-f2 and semitone e2-d2.
  • In this context, the note is clearly of transitional nature, without prejudice to the E major key, consolidated since b. 516.

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FESf

b. 583

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

14 semiquavers in FE (→GE,EE)

Variant given by Mikuli
..

There is no reason to doubt the authenticity of the extended version of semiquaver figures given in the edition of the Concerto edited by Mikuli (see bar 153) as a 'Chopinesque variant.' However, it is uncertain whether the egualmente indication and the fingering are also authentic – the fact that, e.g. not all fingerings come from Chopin is openly discussed by Mikuli in the preface to his edition: '[...] the fingering of the edition comes largely from Chopin; wherever this is not the case, it is at least written according to his rules [...].'*

*  "[...] der Fingersatz dieser Ausgabe grossentheils von Chopin selbst herrührt, wo dies aber nicht der Fall, wenigstens seinen Grundsätzen entsprechend notirt ist [...]"

category imprint: Differences between sources

issues: Authentic post-publication changes and variants