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. 7

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

No pedalling in A & FE (→GE,EE2)

Pedalling in EE3 (→EE4)

Our suggestion
..

A comparison with similar bar 15 suggests that the lack of pedalling in this bar may be a result of an oversight. Such a conclusion was already reached by the reviser of EE3 (→EE4).

category imprint: Editorial revisions

b. 7

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

Fingering in A

Fingering in FE (→GE,EE)

Fingering written into FED
..

The fingering written by Chopin in A (two '1's) was completed by him in a proofreading of FE (→GE,EE). In the main text we also consider the authentic entry in FED.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Authentic corrections of FE

b. 7

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

Long accent in A (→FE)

Short accent in GE

No mark in EE2

Accent & dots in EE3 (→EE4)
..

EE2 does not have the accent added in EE3 (→EE4) together with staccato dots under the quavers (probably by analogy with bar 15). In GE a short accent was applied and moved over the crotchet. In the main text we preserve the notation of A (→FE).

category imprint: Differences between sources

issues: Long accents , EE revisions , Placement of markings , Errors in EE , GE revisions

b. 7

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

c1 in A (→FE→EE2→EE3)

c1 in GE & EE4
..

In the main text we give c1 after A (→FE→EE2→EE3). A similar harmonic progression is often to be found in Chopin's works, e.g., in the Etude in E major, No. 11, bars 23-25, therefore, there is no reason to suspect that Chopin overlooked a  in this place. However, in GE (and EE4) a  was added before this c1, changing it into c1. Completing the missing accidentals was the basis of revision in GE, yet Chopin's intention was not always correctly identified (cf., e.g., the Etude in C major, No. 1, bar 46, A minor, No. 2, bar 7, A major, No. 10, bars 23 and 35). A similar change of c1 into c1 was performed in the ending of the Nocturne in B minor, Op. 9 No. 1, published a little bit earlier in the same publishing house (the 11th quaver in bar 83); the change, being an obvious mistake, shows the schematic approach of the edition's reviser.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 7

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

f in A

f in FE (→GE,EE)
..

In A there is no  returning f on the 9th semiquaver of the bar. It is almost certainly an oversight, corrected by Chopin in a proofreading of FE (→GE,EE).

category imprint: Differences between sources

issues: Omissions to cancel alteration , Authentic corrections of FE