mUltimate Chopin

Text Compare Notes Sources Description

Issues : Dotted or even rhythm

b. 8

composition: Op. 25 No 7, Etude in C♯ minor

Dotted rhythm in GC (→GE) & EE

Even semiquavers in FE
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The authenticity of the dotted rhythm in GC (→GE) and EE does not raise any doubts. The equal semiquavers of FE may be considered as a result of inattention of the engraver or misunderstanding of the handwritten base text, yet the version can be also a result of Chopin's correction, introduced still in the manuscript or proofreading of FE. As one of the traces of possible changes performed in print, one can consider the too long slur, adjusted to the note being closer to the bar line than the visible g semiquaver.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Main-line changes , Dotted or even rhythm

b. 9

composition: WN 17, Polonaise in B♭ major

Quavers in JC & EF

Dotted rhythm in PE
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On the 3rd beat of the bar we give a dotted rhythm after PE, based on the later autograph – [A].

category imprint: Differences between sources

issues: Dotted or even rhythm

b. 9

composition: Op. 63 No. 1, Mazurka in B major

Quavers in AI

Dotted rhythm in FE (→GE,EE)
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category imprint: Differences between sources; Corrections & alterations

issues: Dotted or even rhythm

b. 12

composition: Op. 25 No 7, Etude in C♯ minor

Demisemiquaver in GC (→GE)

Semiquaver in FE & EE
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It is unclear how the difference in the rhythm in this place was created, however, none of these two versions seems to be erroneous. The notation of EE indicates a possibility of the engraver's error – the b1 semiquaver is placed closer to the bar line than the g semiquaver, therefore, it is possible that in the base text to EE the rhythm was the same as in GC. It also cannot be excluded that the additional dot and beam were added in GC by Chopin, although the graphical image of the notation rather does not confirm it. Due to the above ambiguities, in the main text we give the double dotted rhythm, present in the base source (GC).

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections in GC , Dotted or even rhythm

b. 12

composition: Op. 11, Concerto in E minor, Mvt II

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In the French horns' part, both dyads on the 4th beat of the bar are quavers.

category imprint: Source & stylistic information

issues: Dotted or even rhythm