mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in GE

b. 478

composition: Op. 11, Concerto in E minor, Mvt III

..

FE is missing accidentals in the 2nd half of the bar. The patent inaccuracy was corrected in GE1 by adding a  raising a2 to a2. EE and GE3 contain also a  raising f2 to f​​​​​​​2.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in GE , Inaccuracies in FE

b. 478

composition: Op. 31, Scherzo in B♭ minor

Long accent in A (→FC)

Short accent in FE (→EE) & GE2 (→GE3)

No mark in GE1
..

The long accent in A (→FC), quite clear, was reproduced in FE (→EE) as a short one. The mark in FC was first overlooked (in GE1) and then included in GE2 (→GE3), yet also as a short one.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Errors in GE , GE revisions

b. 480

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

Shorter  in A

Longer  in GE (→FE→EE)
..

In the main text we preserve the notation of A, which may suggest a more pronounced accentuation of the 3rd beat of the bar as the topmost point of the passage. Cf. bar 478.

category imprint: Differences between sources

issues: Inaccuracies in GE

b. 483

composition: Op. 11, Concerto in E minor, Mvt III

in FE (→EE)

​​​​​​​ in GE1 (→GE2)

Short accents in GE3

Long accents suggested by the editors
..

A comparison with analogous bar 487 proves that two ​​​​​​​ marks are supposed to be accents, hence in the main text we give them the form of long accents. In GE3, a more radical change was introduced, since the accents are short, just like in bar 487.

category imprint: Differences between sources; Editorial revisions

issues: Long accents , Inaccuracies in GE , GE revisions

b. 485-486

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

 &  in A, literal reading

 & > in A, contextual interpretation

 & > in GE1

 & > in FE

 &  in EE

 in GE2
..

According to us, the virtuoso panache and brilliance require rather accents than diminuendos, hence in the main text we interpret all marks of A as accents (long and short). The  marks printed in GE (→FE→EE), even longer than in the notation of A, hinder the interpretation of a possible intention of the composer even more. Shift of the accent at the end of bar 485 must be an inaccuracy of the engravers of GE1 and FE1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Errors in GE , EE inaccuracies