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. 224-225

composition: Op. 44, Polonaise in F♯ minor

..

In the main text we add cautionary naturals to a1 and a2 in b. 224 and a  to c2 as well as a  to a3 in b. 225.

category imprint: Editorial revisions

b. 224

composition: Op. 44, Polonaise in F♯ minor

..

On the 2nd and 3rd beats of the bar one can see corrections of the bottom R.H. notes in AImaz the result of which is not entirely clear. The crotchet on the 2nd beat could be interpreted as d2-a2 or c2-a2, since it is uncertain whether Chopin was changing c2 to d2 or the other way around. According to us, it is the former that is more likely, which is indicated by the correction of the next crotchet, in which c2 was changed to c2. Therefore, it is likely that Chopin initially wrote down the same harmonic sequence as in the next bar (c2-a2 and c2-a2), only to later raise both bottom notes, which resulted in d2-a2 and c2-a2. The text of the Polonaise reveals that Chopin eventually abandoned that diversification.

category imprint: Graphic ambiguousness; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes

b. 224-226

composition: Op. 23, Ballade in G minor

..

The correction to the last quaver in b. 226 visible in A – it was probably the e2-g2 third that was deleted – could be considered an improvement introduced due to a different bass sequence. However, the last quaver was also corrected in b. 224, where the bass is the same as in the previous two occurrences of analogous bars (b. 216 and 218). Therefore, it seems that Chopin was already certain of the concept of both versions of this quaver while writing b. 224; however, the versions overlapped in his mind, thus resulting in mistakes in both places.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Main-line changes

b. 224-225

composition: Op. 23, Ballade in G minor

No slur in A

a-d slur in FE (→GE,EE)

c-d slur suggested by the editors
..

It is highly unlikely that the slur added in the stage of proofreading FE (→GE,EE) was supposed to have such a range. According to us, Chopin entered into the proof copy a slur running from the c minim, perhaps inaccurately, which resulted in it starting later in the editions (the slur pointed upwards, just like the one in b. 226-227, which we do not reproduce in our transcriptions). This interpretation is supported by the aforementioned slur in b. 226-227, also added in the stage of proofreading FE.
Such misrepresentations are very frequent in the case of ties, e.g. in the Polonaise in F minor, Op. 44, b. 201-202. 

category imprint: Differences between sources; Editorial revisions

issues: Errors in FE , Authentic corrections of FE

b. 224-226

composition: Op. 23, Ballade in G minor

..

In A (→FE), in b. 224 and 226, the accidentals in the R.H. part are present only at the beginning of the quaver figuration – before a2 in b. 224 and a1 and a2 in b. 226. The missing flats to the topmost note in these bars were added by GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE