mUltimate Chopin

Text Compare Notes Sources Description

Issues : Main-line changes

b. 47

composition: Op. 25 No 7, Etude in C♯ minor

Probable mordent in GC

No mark in FE, GE & EE

Our variant suggestion
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The  sign, visible in GC, yet absent in the remaining sources, could have been added by Chopin as one of the elements varying the return of this theme (the other ones are the F1 grace note in bar 50 and, above all, the chromatic scale in bar 52). However, its absence in GE is puzzling, as it seems to be highly unlikely for it to be unnoticed by both the engraver of GE1 and editors preparing GE2. According to us, the sign was considered to be a deletion of the end of the extended (combined) slur. A few such deletions are indeed in GC – in bars 20, 26, 38, 39, 56 and 65 – however, all of them are clearly longer (shorter fragments, e.g., in bars 6-7 remained non-deleted). Taking into account the missing sign in FE and EE and possible doubts concerning its content, in the main text we suggest a mordent in a variant form, in brackets.   

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

issues: Main-line changes , Authentic corrections in GC

b. 47

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

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At the beginning of the bar FCI includes a chord containing both the g2 melodic note (not tied) and the continuation of the accompanying voices – g1-b1-e2.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 47

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

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In FCI there are no ornaments before the 4th R.H. quaver. Moreover, from the 2nd quaver on, the R.H. part is written down using two-part notation – melody in the top voice, while dyads in the bottom one.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Main-line changes

b. 48

composition: WN 37, Lento con gran espressione

6+5 notes in A1 & EL

5+6 notes in CJ & CK

6+5 notes in CB
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In A1 Chopin repeated here the rhythm of analogous b. 15. It must be the initial version, which is additionally proven by the chromatic orthography, left unchanged (c3 instead of d3 – cf. the note to b. 15). According to Chopin's intention, the rhythmic variation of the version of [A2] (→CJ,CK) was most probably related to a subtle differentiation of the character of this figure, which seems to be more of a declamatory nature at the beginning of the discussed bar. It is puzzling how the initial rhythm ended up in CB and EL, since neither Balakirev nor Kolberg nor Szulc had access to A1. According to us, in both sources an arbitrary change was performed on the basis of comparison with b. 15, in which the rhythm creates a smooth, natural accelerando of the descending sequence. In EL the change was introduced only just in print, which is proven by the notes having been arranged according to the rhythm of CJ and CK.

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

issues: Main-line changes , Balakirev's revisions , Revisions in EL

b. 52

composition: Op. 10 No 5, Etude in G♭ major

e3 in A (→FE→GE1,EE)

d3 in GE2 (→GE3→GE4→GE5)
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In A Chopin erased the 9th semiquaver and wrote a different one, most probably e3, which is given here by FE (→GE1,EE). In subsequent GE,s the note was arbitrarily changed to d3.

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

issues: Corrections in A , GE revisions , Main-line changes