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. 7-23

composition: Op. 64 No 2, Waltz in C♯ minor

Sixth B-g in As

Third e-g in AI & A (→FE→GE,EE)
..

The deletion visible in As suggests that the B-g sixth may be a remaining element of the original version, in which a sixth was present also on the 2nd crotchet. The same applies to bar 23, which is not written out in As. The version with sixth appears also in AI in bar 23 (deleted).

category imprint: Differences between sources; Corrections & alterations

issues: Corrections of AI

b. 7-9

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

Synchronization signs written into FED

No teaching indications
..

Characteristic synchronisation signs of the parts of both hands, in the form of lines combining the notes that are supposed to be played simultaneously, were added next to the groups of small notes in bars 7 and 9 in FED. Similarly in bars 26 and 75.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Synchronization markings

b. 7

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

Quavers in A & GE2

Semiquavers in GE1 (→FE→EE)
..

The change of the beam of the group of grace notes is probably an arbitrary decision of the engraver of GE1 (→FE→EE): cf. analogous bar 26 and bar 75.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 7

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

Fingering written into FED

No teaching fingering
..

The fingering above the trill, written in FED most probably by Chopin, is a simplified notation, generally indicating the fingers with which the trill is to be played. It absolutely does not mean that the e3 note is to be repeated after d3 at the beginning of the trill. One can see another sign in this copy, which may be a fingering digit: the dash under the first d3 grace note may be considered a one. However, such an interpretation carries a risk of uncertainty, therefore, we do not include it in the main text.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 7-8

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

Slurs from 2nd quaver in A & GE2

Slurs from 1st quaver in GE1 (→FE)

Different slurs in EE
..

In A the vast majority of the beginnings of the slurs in the L.H., both in the figures embracing the whole bar and in the half-bar ones, does not include the bass note, usually provided with a staccato dot. Despite the fact that Chopin would not always put them precisely (e.g., a slur in bar 8), their systematical reproduction in GE1 (→FE→EE) as whole- or half-bar rather does not correspond to his intention (cf. the characterization of GE1), which was noticed in GE2.

category imprint: Differences between sources

issues: Inaccuracies in GE , EE inaccuracies