mUltimate Chopin

Text Compare Notes Sources Description

Issues : Omitted correction of an analogous place

b. 165-166

composition: Op. 26 No 2, Polonaise in E♭ minor

Triads in A & GE1

Dyad and triad in FE (→EE)

Triad and dyad in GE2 (→GE3→GE4)

Dyads suggested by the editors
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The fact of leaving the c1 note in bar 166 is a patent error at the time of implementing the authentic correction of FE1 (→EE). As a result, in the main text we give the corrected by Chopin version of analogous bars 13-14, 61-62 and 117-118. The versions of both GE1 and GE2 (→GE3→GE4) are a result of revisions unifying analogous bars – bar 165 was assimilated to bar 13 and bar 166 to bar 14.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations

issues: GE revisions , Authentic corrections of FE , Omitted correction of an analogous place

b. 168-176

composition: Op. 42, Waltz in A♭ major

Thirds in the sources

Permissible variant with sixths
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Assuming a possible authenticity of the variants of EE in analogous bars 44, 52, 76 and 84, one has to allow application of this version also in bars 168 and 176.

category imprint: Editorial revisions

issues: Omitted correction of an analogous place

b. 168

composition: Op. 35, Sonata in B♭ minor, Mvt II

c-a & B-g in the sources

A-a & G-b suggested by the editors
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The version of the sources is probably a left by inaccuracy original version of this bar. Chopin's possible mistake is indicated by the mistake in analogous bar 108. One can assume that initially bars 108, 128 and 168 were repetitions of bars 107, 127 and 167, as bar 92 is a repetition of bar 91. Chopin then changed in [A] bars 108 and 128 (leaving the part of the R.H. in bar 108 without correction – see the commentary to this bar). The fact of unintentionally leaving bar 168 in the original form seems to be highly likely in this situation, as there is no reason to suppose that the link with the next phrase was different in bar 168 than in bar 128, whereas overlooking one out of a few similar places at the time of proofreading was quite frequent for Chopin. The possibility is even more likely due to a possible haplography of the composer in this place – the need of correcting a more serious error could have distracted Chopin from the less significant improvement. Therefore, although both versions seem to be musically possible, in the main text we prioritise the version of analogous bar 128.

category imprint: Interpretations within context; Editorial revisions

issues: Omitted correction of an analogous place

b. 172

composition: Op. 42, Waltz in A♭ major

e1 in FE

Third in GE & EE
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On the 2nd crotchet in FE0 (→FE) there is no c1, probably as a result of a misinterpretation of the autograph. Chopin added this note in FEG (→GE) and in the base text to EE.

category imprint: Differences between sources; Corrections & alterations

issues: Omitted correction of an analogous place

b. 173

composition: Op. 42, Waltz in A♭ major

d1-e1 in FE (→FEG→GE1)

d1-e1-g1 in EE & GE2 (→GE3)
..

The d1-e1 second featured in FE and GE1 is the original version, which is proven by the comparison with the remaining four analogous places in bars 49, 81, 113 and 269. In three out of five places Chopin added to it a g1 note in FEG (→GE). In EE the completed version with the d1-e1-g1 chord is in all five places, which also proves Chopin's proofreading. Therefore, the fact of leaving the original version of the discussed bar in FE and GE1 must be considered as Chopin's oversight.

category imprint: Differences between sources

issues: Accompaniment changes , Omitted correction of an analogous place , Authentic corrections of EE