mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in A

b. 19

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

..

In A (→FC,FE) as well as in FCI there is no  raising e to e. The obvious Chopin's inaccuracy was corrected in GE and EE.
FC also lacks  in front of the first L.H. quaver, E. Fontana's error was corrected in GE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Errors of FC , Inaccuracies in A , Errors repeated in FE

b. 20

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

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In A (→FE→GE1→GE2,→EE2→EE3) there is no  raising G to G. This patent accuracy was corrected in FES and later editions.

In the sources the natural raising g to g is before the first sustained semiquaver in the bar. We move it before the 4th note, according to General Editorial Principles, p. 3.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , GE revisions , Omission of current key accidentals , Annotations in FES , Inaccuracies in A

b. 20

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

Staccato dot in A

No dot in FE (→GE→EE)
..

FE (→GE,EE) overlooked the staccato dot for the D1-D octave in the L.H. The engraver's oversight was certainly caused by the unclear notation of A, in which Chopin introduced some of the dots in a very delicate manner and at the same time not directly under the note (moved to the left or to the right) and additionally merging with the pedalling signs. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A

b. 20

composition: Op. 64 No 1, Waltz in D♭ major

 in As, AI & A

 in AII, AIII & FE (→EE)

No ornament in GE
..

The sign in A over the 3rd quaver is not entirely legible (similarly in As and AI) – it reminds a  rather than a . FE (→EE) includes a , whereas in GE there is no ornament at all, which may suggest that the  in FE was introduced in the last proofreading. Taking into account this possibility and clear mordents in AII and AIII, in the main text we give a . Actually, in faster tempos both signs were used by Chopin interchangeably. Cf. bar 92.

category imprint: Graphic ambiguousness; Differences between sources

issues: Authentic corrections of FE , Inaccuracies in A

b. 20

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

 in A, probable reading

 in A (possible reading→GE→FE→EE)
..

The upper arm of the  sign in A is clearly longer than the lower. In the main text we adopt the most likely, according to us, interpretation in which the sign reaches the accented chord on the 4th beat of the bar. In GE (→FE→EE) the influence of  is limited to the 1st half of the bar.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in A