mUltimate Chopin

Text Compare Notes Sources Description

Issues : Chopin's hesitations

b. 283

composition: Op. 2, Variations, complete

 on b2 in AsI & FE1 (→FE2)

No ornament in A (→GE→FESB,EE1→EE2)

 on a2 in EE3
..

In the main text we include the  added by Chopin in FE, hence in the last formation stage of the text of the Variations. Its presence also in the earliest of the preserved sources, AsI, suggests that Chopin hesitated; however, it is likely that the composer simply overlooked the mark in A. Probably on the basis of a comparison with FE2, the ornament was also added in EE3; however, it was placed inaccurately, as a result of which it seems to concern the 2nd semiquaver on the 2nd beat, a2, which is a mistake.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Chopin's hesitations , Errors of A , Authentic corrections of FE

b. 361-369

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

Different rests in FE

Crotchet rests in GE

Quaver rests in EE
..

In bars 361 and 369, identical in terms of rhythm, the rests of FE are of different rhythmic value – there is a quaver rest in bar 361 and a crotchet one in bar 369. Both notations mean practically the same and both can be considered justified:

  • the quaver rest results in a formally correct, although slightly artificial two-part notation;
  • the crotchet rest provides for a less strict, yet more natural three-part notation.

It is difficult to determine whether it is a result of a mistake of the engraver or Chopin's hesitation. The notation was unified both in GE and EE, although differently in each edition. Each of those versions may correspond to Chopin's intention. However, since the performance manner is unquestionable, we preserve the differentiated notation of FE in the main text.

category imprint: Differences between sources

issues: EE revisions , Chopin's hesitations , GE revisions

b. 476

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

g2 in A (→GE)

d2 in FE (→EE)
..

Chopin hesitated about the pitch of the last quaver. It is already the crossings-out in A that prove that the decision was changed twice – Chopin started with g2, changed it to d2, to return to g2. GE features a g2, however, in the proofreading of FE (→EE), Chopin changed it again to d2. It is the latest version that we give in the main text; yet both versions may be considered to be equal. It is interesting that there are no traces of similar hesitations to be found in an analogous situation, as far as the sound is concerned, 4 bars earlier.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Authentic corrections of FE

b. 497

composition: Op. 31, Scherzo in B♭ minor

..

In the main text we add a cautionary  before f2. In analogous b. 493 the accidental is present in A and all the remaining sources. Moreover, Chopin probably hesitated in that respect, since the crossing-out visible there probably concerns the  before that note, which means that it must have been entered twice.

category imprint: Differences between sources; Editorial revisions; Source & stylistic information

issues: Chopin's hesitations , GE revisions , Cautionary accidentals , Deletions in A

b. 538-540

composition: Op. 31, Scherzo in B♭ minor

Slur &  in A, probable interpretation

5 accents in FC (→GE)

in FE (→EE)

Accents & , our alternative suggestion
..

In the main text we give 5 accents written by Chopin in FC, our principal source. The slur present in A was not reproduced both in FC and FE; Chopin also did not introduce it in any of them, although he was adding indications in this place in both of them. In turn, the  hairpin is preserved in FE and can be considered a fully-fledged variant. In turn, taking into account the fact that Chopin could have added it in A already after having proofread FC, we suggest it also as a variant completion of the version of FC.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Chopin's hesitations , Authentic corrections of FC