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. 218

composition: (Op. 4), Sonata in C minor, Mvt IV

No marks in A

2 wedges in GE (→FE,EE,IE)
..

Performing the crotchets in this bar staccato, as in the preceding bars, seems natural, hence highly likely. However, Chopin did not mark it, as one can imagine a change to the kind of articulation due to the possible continuation of crescendo; in the main text we leave this issue to the discretion of the performer.

category imprint: Differences between sources

issues: GE revisions

b. 218

composition: (Op. 4), Sonata in C minor, Mvt IV

Short accents in GE (→EE,IE)

Long accents in FE
..

It is difficult to find a justification for the change of font and position of these 4 accents in FE – in GE they are identical to the ones in bar 217 and 221-222.

category imprint: Differences between sources

issues: Long accents , FE revisions

b. 218

composition: (Op. 4), Sonata in C minor, Mvt IV

No fingering in A (→GE→FE,IE)

Fingering in EE
..

In the main text, we do not include the inauthentic R.H. fingering added by EE.

category imprint: Differences between sources

issues: EE revisions

b. 219

composition: Op. 42, Waltz in A♭ major

..

The cautionary  next to e3 is only in GE2 (→GE3).

category imprint: Differences between sources

issues: Cautionary accidentals

b. 219-221

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

 in GC

 in FE (→EE)

 in GE
..

One  sign in FE indicates that two signs in GC (separated with a transition to a new line) are to be interpreted as a continuous . The notation of GE is certainly arbitrary – erroneous or revised. In GC and GE the dashes marking the range of crescendo from bar 217 are led to the beginning of the  hairpin, in spite of the fact that in each of these sources the signs start in another place.
Due to the relation of the  hairpin with the preceding it cresc. - -, which was overlooked in FE, in the main text we give the ending of the dashes and the hairpin on the basis of GC. According to us, however, the slightly earlier started  sign in FE (→EE) reproduced Chopin's notation probably in a more accurate manner.

category imprint: Interpretations within context; Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins