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. 208-209

composition: Op. 44, Polonaise in F♯ minor

Continuous slur in GE

Separate slurs in FE (→EE)
..

As the division of the slur in FE (→EE) falls during a tied note, practically, both versions of slurring bear the same meaning. To the main text we adopt the slur of GE as compliant with the slurs in analogous b. 129 and 148-149, running from the beginning of the phrase.

category imprint: Differences between sources

b. 208

composition: Op. 23, Ballade in G minor

Staccato dot in A

No mark in FE (→GE,EE)
..

The lack of a dot is almost certainly an oversight of the engraver of FE (→GE,EE). The mark is near the end of the slur and can be considered part of it.

category imprint: Differences between sources

issues: Errors in FE

b. 208-211

composition: Op. 2, Variations, complete

Wedges & dots in A

Wedges in GE (→FE,EE,FESB)
..

category imprint: Differences between sources

issues: GE revisions

b. 208-227

composition: Op. 2, Variations, complete

..

After Variation III, in A there is an earlier version of Variation IV, based on a different textural idea:

After having written down the entire piece, Chopin deleted this variation (without its final tutti) and added its new, final version at the end of the manuscript; moreover, he precisely marked the places in which the added text should be inserted. AsI retains the version deleted in A in an even earlier form, in which certain fragments were being developed a few times.
Taking into account the below:

  • the different texture of both versions excludes any possibility of exchange of their individual fragments,
  • the change entered into A, described above, is final,

we discuss separately the version abandoned by Chopin – see Variation IV, initial version. It is also there that the transcriptions – graphic and content – of the notation of AsI can be found.

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

issues: Corrections in A , Deletions in A

b. 208

composition: Op. 2, Variations, complete

..

In A the entire indication concerning articulation and dynamics is written in an abridged form in the upbeat – sempre stacc. e . If we were to take into account its meaning, it is highly likely that such a position was driven by the lack of space between the staves (in addition, it cannot be ruled out that Chopin added sempre stacc. to , written earlier).
The editions retained this position; however, the layout of the text was changed and the abbreviations written out in full or some words were abbreviated again:

  • sempre staccato e forte in GE1 (→EE,GE2→GE3,FESB),
  • sempre stac. e forte in FE.

Taking into account the above, in the main text we write out the abbreviations in full and put the entire indication in a single line, in the upbeat and bar 1. 

category imprint: Differences between sources; Editorial revisions

issues: GE revisions