mUltimate Chopin

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 6-7

composition: Op. 45, Prelude in C♯ minor

Two  signs in FE (→EE)

Possible interpretation of FE1

GE

Our variant suggestion
..

In the main text we suggest a variant solution that takes into account both the version of GE and that of FE (→EE). The two   marks that can be seen in FE1 (→FE2, EE) could correspond to one longer mark in the autograph, as in Chopin's times publishers used to replace a single hairpin mark   with two marks when it had to be divided because of a new line of text. For that reason we also propose an alternative version with such an interpretation of the marks. Due to differences in sources and clear analogies in the structure of motifs, the same problem also appears in ten other similar places in the Prelude (on this page in bars 10-11 and 20-21).

category imprint: Differences between sources

issues: Hairpins denoting continuation

b. 6-21

composition: Op. 45, Prelude in C♯ minor

..

In GE, whole notes constituting part of chords that also contain notes of different rhythmic values are placed close to the middle of the bar, more or less above the 4th quaver of the L.H. Such notation, characteristic for Chopin's autographs, has long gone out of use. In FE, the tendency to graphically separate whole notes is much less pronounced, while EE's notation is close to contemporary practice. 

category imprint: Source & stylistic information

b. 6-20

composition: Op. 45, Prelude in C♯ minor

Notation in FE (→EE)

GE
..

For the octave occurring in the middle of bars 6, 10 and 20 we adopt the two-part notation of GE, corresponding to the notation of bar 8 and analog., as our main text. The notation of FE (→EE), economical to the maximum, is very Chopin-like in its simplicity and therefore definitely authentic, yet probably earlier (cf. the note concerning bar 26).

category imprint: Differences between sources

b. 6

composition: WN 17, Polonaise in B♭ major

No indication in JC & PE

dim. in EF
..

The indication dim., in accordance with the natural phrasing, may correspond to Chopin's intentions, despite the fact that most probably it was added in EF by Fontana. Cf. the remark in bar 9. 

category imprint: Differences between sources

b. 6

composition: WN 17, Polonaise in B♭ major

Rhythm in JC (literal reading)

Rhythm in JC (interpretation) and EF

PE
..

The rhythm in EF (equal quavers at the end of the bar) and – despite a mistake – in JC most probably corresponds to the notation of [AI]. In [A] (→PE), which is undoubtedly a later version, Chopin homogenised the rhythm of the 3rd beat of the bar in bars 1-3 and 5-7.   

category imprint: Differences between sources

issues: Errors of JC