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. 7-13

composition: Op. 28 No. 7, Prelude in A major

Ties in GE2 (→GE3)

No ties in remaining sources
..

The ties of c1 in b. 7 and of b1 in b. 13 must be revisions of GE2 (→GE3), inspired by the authentic ties of d1 in b. 5 and of c2-e2 in b. 11. The revision can be considered incomplete – c2 was overlooked in a similar context in b. 3.

category imprint: Differences between sources

issues: GE revisions

b. 7-8

composition: Op. 28 No. 7, Prelude in A major

with bass in A (→FC→GE, →FE→EE)

 under semiquaver in CXI

No markings in CGS
..

The position of the  mark in CXI may be inaccurate or constitute a potentially authentic variant of pedalling – see b. 5-6. The missing  mark in b 8 is almost certainly an oversight.
No pedalling markings in CGS – see b. 3-4.

category imprint: Differences between sources

b. 7

composition: Op. 28 No. 8, Prelude in F♯ minor

..

There are no accidentals before the last pair of demisemiquavers in A. Therefore, they should be interpreted as c2 and c3 (the  before the 5th demisemiquaver of the bar is in force), which is, of course, impossible. In this Prelude Chopin took it for granted that the second and last demisemiquavers in each group are an octave higher than the preceding melodic note, thus he marked precisely only the pitch of the melodic notes (cf. b. 1-4). Therefore, there are no doubts that it is the bottom note that is written correctly, c2, and the inaccuracy concerns the top note, which must be a c3. Interestingly enough, the absence of a  restoring c3 was not noticed in any of the remaining sources, even in GE2, in which a cautionary  was added before c2.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: Omissions to cancel alteration , Errors of A

b. 7

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In A one can see a crossed-out  before g2, the 5th demisemiquaver in the last group, which proves that Chopin verified the accuracy of accidentals.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A

b. 7

composition: Op. 28 No. 9, Prelude in E major

F in A (→FC), literal reading

F in FE (→EE), GE & CGS
..

When interpreted literally, the chord on the 3rd beat of the bar in A (→FC) consists of the following notes: F1-F-b-d1-f1, which, in turn, results in a G major chord (F major), which could be a part of this harmonic sequence. However, Chopin would generally avoid such an unnatural orthography; therefore, he most probably overlooked here the naturals lowering all f notes to f. They were added both in FE (→EE) and GE, and the composer did not question the printed naturals in any of the three teaching copies containing annotations coming from him.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals , Errors of A , FE revisions