mUltimate Chopin

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Undo Clear

b. 116

composition: Op. 30 No. 4, Mazurka in C# minor

in FC

No sign in FE (→EE)

in GE
..

The  hairpin was added by Chopin to FC. In GE the mark was slightly shortened, adjusting it to the quintuplet beam. The hairpin of FC could be considered inaccurate, but a mark of similar range was most probably in [A] in bar 19, which seems to result from the comparison of the versions of FE and FC in that bar.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Inaccuracies in GE , Authentic corrections of FC

b. 116

composition: Op. 30 No. 4, Mazurka in C# minor

Long accent in FC (→GE)

No mark in FE (→EE)
..

The long accent was written into FC by Chopin, as in bar 20.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FC

b. 116

composition: WN 29, Waltz in E minor

B1 in sources

g suggested by the editors
..

In PE the 1st L.H. note is undoubtedly an erroneous B1 instead of g, which is present in all analogous bars. It resulted from an accidental, excessive change of clefs – in this edition the L.H. part in bars 113-118 is written down – unlike in all the previous appearances of this phrase – with the use of a treble clef for the 2nd and 3rd beats of bars 113-116 and for entire bars 117-118: . It can be seen that if it were not for the bass clef at the end of bar 115, the text would be correct. The mistake remained unnoticed also in GE.

category imprint: Interpretations within context; Editorial revisions

issues: Errors in PE

b. 116-119

composition: Op. 49, Fantaisie in F minor

Two-note slurs in A (→GE)

Three-note slurs in FE (→EE)
..

It is difficult to say whether the A slurs are inaccurate or whether Chopin indeed wanted to encompass with them only the pair of chords at the end of bars 116-118. The comparison with analogous bars 283-286 suggests that the discussed slurs are inaccurate, since two out of the three slurs there clearly go beyond the bar line, indicating the A chords as their final notes. Due to the above, in the main text we give the FE (→EE) slurs, considering them a contextual interpretation of the A notation. The GE slurs are based on the literal interpretation of A.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A

b. 116

composition: Op. 49, Fantaisie in F minor

2 long accents in A (→GE)

in FE (→EE)
..

As in bars 110-114, the longer  mark in FE may be authentic, added by Chopin to [FC] or at the stage of proofreading FE1. According to us, it is, however, unlikely that Chopin would have replaced the two accents visible in A with it, since the latter was probably added as part of corrections and additions after [FC] had been finished. This is indicated by the fact that the second accent is absent in FE in each of the two subsequent bars, which most probably means that Chopin added them to A later. Therefore, in the main text we give the A (→GE) version, probably resulting from Chopin's correction; a correction going beyond the one that found its way to FE at the composer's initiative.  

category imprint: Differences between sources

issues: Long accents