mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic post-publication changes and variants

b. 1

composition: Op. 28 No. 14, Prelude in E♭ minor

Allegro in A (→FC→GE, →FE→EE)

Largo in FES
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Largo written in FES instead of Allegro, which was crossed out, is most probably a teaching correction – it indicates the way the piece should be practised, and not a change of concept of the Prelude. Placing the Prelude in E Minor provided with Largo between the Preludes in F Major and D Major (Lento and Sostenuto, respectively) seems to be unlikely due to the structure of the entire cycle.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants

b. 10

composition: Op. 24 No. 4, Mazurka in B♭ minor

 
 
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category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Accompaniment changes , Authentic post-publication changes and variants

b. 12

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

e(1) in Afin

e(1) in GC (→GE) & FE (→EE)
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The version of Afin, with a written cautionary  before e1, is certainly authentic, however, according to us, it can be considered to be an equal variant with respect to the published version. Afin was performed with a visible haste, without taking care of the accuracy of notation, whereas its fragmentary character excludes its use as a score to perform the music written in it.

category imprint: Differences between sources

issues: Cautionary accidentals , Authentic post-publication changes and variants

b. 12

composition: Op. 28 No. 4, Prelude in E minor

Grace note written into FEJ

No grace note in remaining sources
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As a whole, the entry in FEJ is difficult to interpret. The part written on the stave creates a quite distinct, small, slashed f1 or g1 quaver. The context speaks strongly in favour of f1 – a repetition of a note in the form of a grace note, preceding a larger interval upwards (most often an octave), is often to be found in pieces by Chopin, cf., e.g. the Polonaise in E Major, Op. 22, b. 56, Bolero in A Minor, Op. 19, b. 160 or Scherzo in B Minor, Op. 31, b. 302. In such a context, the grace note generally facilitates the performance by enabling a change of finger, in the discussed place of the Prelude from 3 to 1 or 2. The version with the grace note can be considered an equal variant with respect to the main text.

As far as the marks added below the stave are concerned, they can be seen as, e.g. a diagonal cross (often encountered in teaching copies), a very stooped , alternatively a digit '1' (the 1st finger on the added grace note) and a slur. We consider the latter to be most likely, hence we include it in the transcription of the text of FEJ.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEJ

b. 13

composition: Op. 27 No 2, Nocturne in D♭ major

The triplet slur in A (→GE→FE→EE)

The phrasing slur added in FEJ
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The slur added in FEJ is, in the editors' opinion, not only a teaching remark but an improvement of imperfect notation.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEJ