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. 250

composition: Op. 19, Bolero

No signs in FE (→GE,EE1)

Staccato dots in EE2 (→EE3)
..

In EE2 (→EE3), the reviser arbitrarily added staccato dots for the R.H. in the 2nd half of bar 250 – probably by comparison with similar melodic and rhythmic figures in the adjacent bar. Assuming the legitimacy of this addition, it is impossible, however, to understand why he did not introduce a similar solution in analogous bar 136 or why the marks are only in the R.H.

category imprint: Differences between sources

issues: EE revisions

b. 250-252

composition: Op. 21, Concerto in F minor, Mvt III

..

Three necessary accidentals are missing in A – flats lowering g1 to g1 in bar 250, c3 to c3 in bar 251 and c4 to c4 in bar 252. The first of them was added in GE1 (→FE→EE, →GE2), whereas the third – in EE and GE2. The flat in bar 251 is not featured in any of the sources.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Inaccuracies in A

b. 250-251

composition: Op. 21, Concerto in F minor, Mvt III

g tied in A & GE2

g repeated in GE1 (→FE→EE)
..

The missing tie of g must be a mistake of the engraver of GE1 (→FE→EE).

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 250

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

Small crotchets in FE

Acciaccaturas in GE

Appoggiaturas in EE
..

Grace notes in the form of small crotchets are probably a mistake of FE (see e.g. Sonata in B minor, Op. 35, mov. I, bar 208) – Chopin would use this kind of grace notes before longer rhythmic values, minims, semibreves (cf. e.g. Concerto in F minor, Op. 21, mov. I, ​​​​​​​bar 208). The revisers of GE and EE also evaluated it like that; both introduced forms of grace notes may be considered to be potentially compliant with the notation of [A]. In the main text, we adopt slashed quavers, most frequently used by Chopin. 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 250-251

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

No fingering in FE (→GE)

Fontana's fingering in EE
..

The fingering of the octaves (here and in bars 252-255) given by Chopin generally does not deviate from the fingering indicated by Chopin a few years later in the Etude in B minor, op. 25, no. 10, bars 31-37. However, Fontana did not suggest the change of the fingers 5 and 4, which one could expect on the second octave in bar 251. 

category imprint: Differences between sources

issues: EE revisions