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. 271

composition: Op. 16, Rondo in E♭ major

..

FE (→EE1→EE2) lacks ​​​​​​​ raising a1 to a1. The patent mistake was corrected in GE and EE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Errors repeated in EE

b. 271

composition: Op. 16, Rondo in E♭ major

..

We add cautionary flats before e and e1 in the main text.

category imprint: Editorial revisions

b. 271-272

composition: Op. 31, Scherzo in B♭ minor

f tied in A (→FC) & GE2 (→GE3)

f repeated in FE (→EE) & GE1
..

The missing tie of f in FE (→EE) is another of the series of the mistakes of FE, concerning the ties in this section of the Scherzo, which has just begun. This time it was also the engraver of GE1 that committed a mistake. A corresponding tie was added in GE2 (→GE3).

category imprint: Differences between sources

issues: Errors in FE , Errors in GE , GE revisions

b. 271

composition: Op. 44, Polonaise in F♯ minor

No markings in sources

[ ] suggested by the editors
..

This bar was not written out with notes in the manuscripts, only marked in an abridged manner as a repetition of b. 38. Taking into account the above, in the main text we suggest supplementing the Chopinesque pedalling on the 3rd beat of the bar, like in b. 38.

category imprint: Editorial revisions

b. 271-272

composition: Op. 2, Variations, complete

2 wedges, 4 dots in A

5 wedges in GE (→FE,EE)
..

The precise Chopinesque articulation markings – wedges at the beginning of the bar and dots further on – were arbitrarily standardised in GE (→FE,EE). It was the entire finale of the Variations that was subject to this arbitrary unification of staccato markings. According to us, such a decision could have been influenced by both types of staccato intertwining in A, doubly burdensome for the engraver:

  • when deciphering the text, since the differences between the marks are not always obvious at first sight, not to mention discovering the key Chopin followed when choosing one or the other type of marks;
  • when engraving, due to the need to change the die often (or due to the need to develop a page twice, once for dots and subsequently for wedges).

The missing staccato mark over the crotchet in bar 271 is most probably the engraver's mistake.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Wedges