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. 347

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

..

In A, the flat restoring e is written with pencil; therefore, its authenticity is uncertain (see the characterization of A). There is no corresponding sign before the bottom note of this octave in A. The flats are present in all parts of Morch performing this line and in analogous bar 23. The editions feature the correct text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts

b. 347

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

Long accent in FE (probable reading→EE)

Short accent in GE1 (→GE2)

​​​​​​​in GE3

​​​​​​​ – our alternative suggestion
..

It is unclear which mark Chopin meant at the beginning of the 2nd half of the bar. In FE, the mark resembles an accent (short or long), yet it cannot be ruled out that it was supposed to be a ​​​​​​​, although certainly not as long as in GE3. A natural performance contains both an accent and diminuendo, which is best conveyed in one mark by a long accent or a slightly different short diminuendo hairpin. A similar problem appears also in bars 390-391.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , GE revisions

b. 347-348

composition: Op. 2, Variations, complete

Wedges in b. 348 in AsI

Staccato dots in A

Wedges in GE (→FE,EE)
..

Wedges instead of dots over the octaves and the sequence of L.H. quavers played over the R.H. must have resulted from a revision by the engraver of GE1, who unified these marks in the entire finale of the Variations.
In AsI the marks are only in bar 348. It is uncertain which marks Chopin meant here – we assume that they are wedges.

category imprint: Differences between sources

issues: GE revisions , Wedges

b. 347

composition: Op. 2, Variations, complete

Short accents in A (→GE→FE,FESB)

Vertical accents in EE
..

As in bar 343, the type of accents was arbitrarily changed by the engraver of EE.

category imprint: Differences between sources

issues: EE revisions

b. 348

composition: Op. 39, Scherzo in C♯ minor

No marking in EE

 in GC (→GE) & FE
..

Lack of  in EE is either an omission or echoes one of the earlier stages of the Scherzo notation.

category imprint: Differences between sources

issues: Errors in EE