mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic corrections of GE

b. 1-6

composition: Op. 50 No. 2, Mazurka in A♭ major

No slurs in A1 (→FE→EE)

Slurs in GE
..

Five slurs under the bass voice are an improvement introduced by Chopin in [A2] or in the proofreading of GE1. Chopin also added pedalling, probably at the same time.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 1

composition: Op. 23, Ballade in G minor

Largo in A (→FE→EE)

Lento in GE
..

Lento could have been entered by Chopin into the proof copy of the Ballade that served as the basis for GE1. However, it is uncertain whether that copy indeed included Chopin's amendments; therefore, the authenticity of Lento remains unsure. Chopin could have hesitated between these two indications – Largo works perfectly with the initial fragment,  and pesante, whereas Lento seems to be better suited to the second phrase, played , imbued with sorrow and resignation.

category imprint: Differences between sources

issues: Errors in GE , Authentic corrections of GE

b. 2-3

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

Two slurs in A

One slur in GE (→FE→EE)
..

Both source versions of the slurring of this phrase were written by Chopin in A: two slurs in the discussed place, one in analogous bars 92-93. The slur in GE (→FE→EE) was corrected, perhaps by Chopin, however, the change applied not to the correctly rendered slurs of A but to other, erroneous slurring – the traces indicate that the original slur reached the 2nd crotchet in bar 3. Therefore, in the main text we retain the version of A, regarding the version in the editions as an equivalent variant.

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 4

composition: Op. 25 No 1, Etude in A♭ major

No signs in CDP & EE

Accent &  in AI

 in A

 in GE1

  in FE & GE1a (→GE2)

 in GE3
..

In the main text we give a pair of   hairpins, being a result of Chopin proofreading of GE1a (→GE2); it is also FE that has identical indications. Hence Chopin returned – in a modified form – to the original idea written in AI. The abbreviated sign of GE1 is an attempt to interpret a not entirely clear notation of A; another attempt was made in GE3, ignoring the authentic proofreading of GE1a.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: GE revisions , Authentic corrections of GE , Unclear hairpins in A

b. 4-28

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

 in bar 12 in A (→GE→FE)

  in bar 12 in EE

Pedalling in bars 4, 12 & 28 suggested by the editors
..

The missing pedalling in bars 4 and 28 seems to be an inaccuracy of notation. In the first two bars, Chopin characteristically diversifies the performance – with or without pedal – depending on whether the crotchets creating a spread chord can be held with hand or not. It is possible that he considered the use of the same pedalling two bars further to be obvious (cf. the adjacent note). In the recapitulation (bars 325-336), respective bars appear twice (bars 328 and 336), both times with pedalling. The  sign is also in bar 12, which confirms that performing those bars without pedal was not Chopin's intention. Therefore, in the main text we suggest adding both the  sign in bar 12 and both signs in bars 4 and 28.

category imprint: Editorial revisions

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