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. 223-225

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

No slurs in FE (→EE,GE1→GE2)

Slurs in GE3
..

The missing slurs may be a result of graphic difficulties in reproducing the slurs caused by the original layout, in which the topmost notes in the L.H. are written on the top stave. As there are no doubts that the accompanying quaver figures should be performed legato, in the main text, we add slurs on the basis of comparison with the analogous bars of the recapitulation (bars 574-576). Such an addition was introduced already in GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 223

composition: Op. 16, Rondo in E♭ major

Wedge in FE (→EE)

Staccato dot in GE
..

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , GE revisions , Wedges

b. 223-224

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

Fingering written into FEH

No teaching fingering
..

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEH

b. 223-224

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

Tied g​​​​​​​1 in FE (→GE,EE)

No g​​​​​​​1 in bar 224 in FEH
..

The crossing-out of the tied g​​​​​​​1 note at the beginning of the bar visible in FEH may indicate a variant – cf. analogous bar 228. It was probably meant to simplify the performance, since omission of the tie, sonically practically unnoticeable, enables the f1-g1 second to be performed with the 1st finger, which, in turn, allows for an easier fingering of the upper voice. However, it cannot be excluded that the crossing-out was only supposed to suggestively signalise that this note should not be played simultaneously with the e1-e2 octave, which is indicated by a few similar crossings-out – see bars 294-295 as well as 334-335, 370-371, 377-378. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 223

composition: Op. 22, Polonaise

No mark in FE (→GE,EE)

Accent suggested by the editors
..

In the main text we suggest adding an accent at the beginning of this bar. The accent is featured in two out of three repetitions of this bar (in b. 227 and 247), and, according to us, it is the composer's inadvertence or a mistake of the engraver of FE that are the most likely reasons for its absence. There is a similar situation in b. 243.

category imprint: Editorial revisions