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

composition: Op. 28 No. 13, Prelude in F♯ major

Slur in A

No slur in FC (→GE) & FE (→EE)
..

The slur of A, although perfectly visible, was, nevertheless, overlooked both in FC (→GE) and FE (→EE).

category imprint: Differences between sources

issues: Errors in FE , Errors of FC

b. 7

composition: Op. 28 No. 13, Prelude in F♯ major

Small crotchet in A (→FC,FE→EE)

Crotchet in GE1

Acciaccatura in GE2 (→GE3)
..

In this place, Fontana faithfully reproduced the long grace note of A, which was, however, distorted in GE1. The mistake was rectified in GE2 (→GE3) by changing the crotchet to a common short grace note.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 7-9

composition: Op. 28 No. 12, Prelude in G♯ minor

3 slurs in A, literal reading

3 slurs in A (possible interpretation→FE→EE)

Continuous slur in FC (→GE)
..

The slur over b. 8 encompasses in A 5 top-voice quavers. However, according to us, it is possible that Chopin meant a whole-bar slur, as reproduced in FE (→EE). The slurring of FC is definitely incompatible with the notation of A, although the situation between b. 8-9 is ambiguous in the copy – the slur in b. 8 (at the end of the line) suggests that it should be continued, whereas the slur in b. 9 rather does not. However, as b. 9 is not written out with notes, which impedes a reliable evaluation of the placement of the beginning of the slur, we take into account the ending of the slur in b. 8. This is how it was interpreted in GE too.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors of FC , Uncertain slur continuation

b. 7

composition: Op. 28 No. 23, Prelude in F major

     in A (→FE,FC→GE)

    in EE
..

The missing  signs in EE result almost certainly from engraver's negligence.

category imprint: Differences between sources

issues: Errors in EE

b. 7

composition: Op. 23, Ballade in G minor

e1 in A (→FE→EE1→EE2)

d1 in GE & EE3
..

The version of GE may be either a revision of this edition (cf. the comment on b. 45-47) or a variation introduced by Chopin (e.g. along with Lento – cf. the comment on b. 1). The vast majority of arguments are for the former, i.e. for this chord being arbitrarily revised in GE:

  • clear notation of A, repeated without changes in FE, which was proofread by Chopin twice;
  • testimonies of Chopin's pupils and friends – Marcelina Czartoryska, Friederike Streicher, Ferdinand Hiller and Adolf Gutmann.

Therefore, in the main text we give e1, considering d1 a variant of uncertain authenticity.
The change in EE3 must have been introduced on the basis of a comparison with GE.

category imprint: Differences between sources

issues: EE revisions , GE revisions , Authentic corrections of GE