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. 153-158

composition: Op. 26 No 2, Polonaise in E♭ minor

..

In all editions except for GE2 (→GE3→GE4) the pedalling indications in bars 153-154 and 157-158 were overlooked.

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 153

composition: Op. 26 No 2, Polonaise in E♭ minor

A, literal reading

A (contextual interpretation) & GE

FE (→EE), contextual interpretation
..

In A we mark this bar in an abbreviated manner as repetition of bar 49, written with a mistake – see the commentary to this bar. The version of FE (→EE), in which the chords omitted at the end of the bar were – certainly ordered by Chopin – completed, includes another mistake in the form of superfluous G notes. As a result, the correct text of the 2nd half of the bar, resulting from the interpretation of A confirmed by Chopin proofreading of FE in bar 49, appears explicite only in GE.

The sources differ in the notation of the rest embracing the 4th and 5th quavers of the bar, which we do not include in the given variants. In the main text, we give the notation used by Chopin on a number of occasions in A (bars 1, 3 and 5). 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions

b. 153-156

composition: Op. 35, Sonata in B♭ minor, Mvt I

Three-bar long  in GC (→GE)

One-bar long  in FE1 (→FE2→EE)

No sign in FE3 (→FE4)
..

In the main text we include the  sign written in GC (→GE). The shorter hairpin in FE1 (→FE2→EE) is probably inaccurate; its removal in FE3 (→FE4) also seems to be a mistake – crescendo is so natural here due to the quickly ascending progression and accumulation of harmonies due to pedalling. See also bars 158-160.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 153-156

composition: Op. 64 No 3, Waltz in A♭ major

 in A

No sign in FE (→GE,EE)
..

The missing  hairpin is certainly a defect of FE (→GE,EE).

category imprint: Differences between sources

issues: Errors in FE

b. 153

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

 in A

No sign in FE (→GE,EE)
..

The absence of the  sign, clearly written in A, is probably a mistake of the engraver of FE (→GE,EE). After a longer fragment marked in A in an abbreviated way, the bar is the first written out entirely, so that it seems to be likely that instead of reproducing the actual notation of this bar, the engraver repeated the notation of bar 25.

category imprint: Differences between sources

issues: Errors in FE