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. 255

composition: Op. 16, Rondo in E♭ major

..

FE (→GE) lacks the last syllable in the word crescendo. The patent mistake was corrected by the reviser of EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in FE , Errors repeated in GE

b. 255

composition: Op. 16, Rondo in E♭ major

..

category imprint: Editorial revisions; Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 255-256

composition: Op. 22, Polonaise

..

In the main text we omit the cautionary  before a, the 4th L.H. quaver in b. 255, present in all sources. In turn, we add a  before g1 at the beginning of b. 256.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 255

composition: Op. 2, Variations, complete

..

Both in the last L.H. chord and in the R.H. arpeggio on the 4th beat of the bar, neither AsI nor Af nor A (→GE1→FE,EE) contain accidentals before g/g notes in various octaves. Actually, harmonically speaking, g would be possible; however, in this context, it is much more likely that we are dealing with overlooked naturals:

  • after changing the key signature, Chopin was uncertain which were valid – this is proven by numerous unnecessary flats before d, g, a and even e and b in bars 255-259 in AsI; in A there is still a flat before B at the end of bar 255 and before g2 in bar 256;
  • diminished seventh chords belonged to young Chopin's favourite ones.

The decisive argument for g is provided by the orchestral part – there is a g note in the 2nd violins, and the violins could not play g here.

The first edition to add naturals was GE2 (→FESB), 4 accidentals in total raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H. The overlooked  to the 2nd demisemiquaver (g3) was added by GE3, in which, however, the accidental to the penultimate demisemiquaver, g, was overlooked.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Last key signature sign

b. 255

composition: Op. 2, Variations, complete

..

As far as the naturals raising e to e in the 2nd half of bar 255 are concerned, in A Chopin was satisfied with accidentals to the L.H. chord (e1) and the 3rd demisemiquaver (e3). The remaining 3 naturals necessary later in the passage were added by GE (→FE,EE).
In EE the  to the L.H. chord, which was placed slightly too low in GE1, was interpreted as a natural raising d1 to d1.
In A the  to e3 is written too low, at the pitch of c3. Such inaccuracies are often to be found in Chopin's autographs, generally – as is the case here – with no influence on the interpretation of the text.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , Inaccuracies in GE , Errors in EE , GE revisions , Accidental below/above the note , Inaccuracies in A