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. 137-138

composition: Op. 2, Variations, complete

..

In AsI the accidentals restoring c1 and b at the end of b. 137 are missing; the  raising e1 to e1 in b. 138 is absent too. A similar situation occurs in the L.H. part, which is marked in an abridged manner as doubling in unison the R.H. part. In A and the editions the notation is correct.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Omission of current key accidentals

b. 138

composition: Op. 24 No. 4, Mazurka in B♭ minor

 in A (literal reading) and EE
 

GE (→FE)
..

 in A is placed before the last chord of the L.H. but after its initial deleted version. In the editors' opinion, when changing the notation of the chord Chopin failed to notice the consequent change of the spatial relation between that crotchet  and the . That is why in our main text we put the  after the 3rd crotchet. In GE (→FE) the sign was placed under the 3rd crotchet, and in EE even before it. 

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Errors resulting from corrections

b. 138

composition: Op. 24 No. 4, Mazurka in B♭ minor

..

According to the principles governing use of cautionary accidentals that we have adopted, the  before g flat in the 3rd chord is unnecessary. The reason why Chopin put it in A (→GE→FE→EE) was probably the non-typical chord orthography that may bring associations with the diminished triad g - c sharp1- e1. Chopin introduced that enharmonically changed notation in the last phase of writing A, which is testified by the visible deletion of the chord originally written as the previous one.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Cautionary accidentals , Enharmonic corrections

b. 138

composition: Op. 24 No. 4, Mazurka in B♭ minor

..

In A (→GE), there is a  entered before d flat1 in the 1st chord. That sign, totally unnecessary in the context, was removed in the proofing of FE (→EE), perhaps at Chopin's request. It is conceivable that the much more clearly written  lowering f1 to f flat1 in A was, in Chopin's intention, to replace the sign put mistakenly before d flat1.

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic corrections of FE

b. 138-143

composition: Op. 39, Scherzo in C♯ minor

Slurs in GC, contextual interpretation

Less probable reading of GC (→GE)

Slur in EE and FE
..

Bar 139 is not embraced with any slur in GC: the slur from the preceding bars reaches only to the end of bar 138 (the last bar on the manuscript page) and a new slur begins as far as bar 140. We think that, since the slur in bar 138 indicates continuation, one should assume that it was supposed to reach the minim in bar 139. GE has got a different reading of those slurs; one of them ends in bar 138 and another one begins in bar 139. In EE and FE the slur is not divided, which is probably another authentic version of the slurring, alternative to the version of GC.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in GC