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. 162

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

g-e1 in A, GE2op (→GE3op) & GE2no2

g-c1-e1 in FE (→EE,GE1op,GE1no2)
..

The chords on the 2nd and 3rd beats of the bar in FE (→EE,GE1op,GE1no2) is most probably a mistake – see bar 34. The introduction of sixths in later GE is certainly a revision unifying bars 34, 98 and 162, in this case, according to us, giving the correct result.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions

b. 162-172

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

 signs in A

 signs in FE

 signs in GE & EE
..

Similarly as in bars 33-44 (in the autographs the discussed bars are not written out), we reproduce the range of the  hairpins in the main text on the basis of A. In FE the first 4 signs correspond with the range to the notation of A, however, the next are slightly longer. The remaining editions include signs of the same, six-quaver length.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies

b. 162-163

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

Mark at the beginning of b. 163 in GC & GE2

No mark in GE1

Mark at the end of b. 162 in FE (→EE)
..

It is difficult to say which of the sources based directly on [A] – FE and GC – reproduced Chopin's notation more accurately. Therefore, we give the version of the principal source, i.e. FE (→EE) – see Rules of creation of the main text. The missing mark in GE1 must be an oversight of the engraver.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 162

composition: Op. 19, Bolero

c1 in FE (→GE,EE)

a suggested by the editors
..

The version of FE (→GE,EE) is most probably erroneous – in the entire section encompassing bars 156-157, the 3rd quaver in analogous figures in the L.H. is always an a. An additional argument supporting a is the presence of c1 on the 2nd semiquaver in the R.H., being the resolution of the last d1 from the previous bar.

category imprint: Interpretations within context; Editorial revisions

issues: Errors in FE

b. 162-164

composition: Op. 21, Concerto in F minor, Mvt I

Staccato dots in bar 162 in A

Dots in bars 163-164 in GE1 (→FE→EE)

Dots in bars 162 & 164 in GE2
..

The missing staccato dots in bar 162 in GE1 (→FE→EE) are certainly an oversight of the engraver of GE1 (cf. bars 156-160). Similarly, the absence of dots in bar 164 in A is also to be regarded as an oversight – in this bar, the last on the page, Chopin overlooked all articulation markings in the L.H. (dots and slurs). Dots were added in GE1 (→FE→EE); however, they were added also in the previous bar (163), which, as it seems, was not compliant with Chopin's intentions (cf. bar 161 and the note on slurs in bar 159). However, this does not exclude Chopin's participation in the proofreading, since the composer could have changed the concept of markings. According to us, it is a mistake at the time of performing the proofreading or an editorial revision that are more likely.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Authentic corrections of GE , Inaccuracies in A