mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors resulting from corrections

b. 4

composition: Op. 10 No 11, Etude in E♭ major

No e in chord in A

Chord with e in FE (→GE,EE)
..

The origin of the additional e note present in the 1st chord in the bar in FE (→GE,EE) is unclear. Chopin could have added it at the time of proofreading FE, yet it seems more plausible that it was printed by mistake instead of g (Terzverschreibung) or B (the second possibility is indicated by the length of the arpeggio wave). Then the correct note was added, yet the erroneous one was not deleted, which is a characteristic error of engravers (the then printing technique made adding a note much easier than deleting it). Similar mistakes were often committed in other Chopin's works, e.g., in the Scherzo in B minor, Op. 20, bars 135 and 292, the Ballade in G minor, Op. 23, bar 171 and the Polonaise in A major, Op. 40 No. 1, bar 93. Cf. the remark concerning the Etude in G major, No. 5, bar 59.   

category imprint: Differences between sources

issues: Errors in FE , Errors resulting from corrections , Terzverschreibung error , Authentic corrections of FE

b. 8

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In A before the 2nd demisemiquaver in the 3rd group, one can see a crossing-out, most probably of a  lowering it to c3. It would confirm that Chopin was convinced that accidentals before the 2nd and 8th demisemiquavers in each group are not necessary, since their pitch is determined by the preceding note, placed an octave lower. Similarly in the Prelude in E no. 19, bar 13 and 39.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A

b. 9

composition: Op. 26 No 1, Polonaise in C♯ minor

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The  indication, appearing in the repetition of bar 9 next to the G1-G octave in the L.H., in all editions, undoubtedly results from a misinterpreted correction of Chopin in A. While correcting the erroneous  indication, the composer overwrote a pedal's release sign on it (after all, too late). In GE2 (→GE3→GE4→GE5)  was additionally arbitrarily changed to . The first indication could have been removed by Chopin in the proofreading of FE1. The absence of a respective correction in the analogous bar in the repetition is undoubtedly an oversight of Chopin or of the engravers.

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Errors in EE , Errors resulting from corrections , Errors in GE

b. 13-14

composition: Op. 64 No 3, Waltz in A♭ major

Slur in A, EEC & EEW2

No slur in FE (→GE,EEW1)
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The missing slur over the dyads is most probably an oversight of the engraver of FE (→GE,EEW1). Same as in the case of the pedalling, the mistake could have been provoked by deletions in A, hindering the interpretation of the composer's intention.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors resulting from corrections

b. 13-14

composition: Op. 28 No. 2, Prelude in A minor

..

As initially featured c1 as the top note of the even quavers, just like in previous bars. Chopin then changed it to a; however, at the end of b. 14 he left c1 (it was not crossed out), which must be considered an oversight.

category imprint: Interpretations within context; Corrections & alterations; Source & stylistic information

issues: Errors resulting from corrections , Accompaniment changes , Omitted correction of an analogous place