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. 330

composition: Op. 39, Scherzo in C♯ minor

Rhythm in EE and an interpretation of GC's script

Rhythm in FE & GE
..

The initial rhythm in RH () is confirmed in EE and also in GC (despite an obvious error - ). Traces of printing edits in FE allow us to see that the rhythm intitially was notated in this edition too but it was changed by Chopin to . We see this variant also in GE, revised most probably based on the rhythm in the earlier phrase, in bars 322 and 326

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE , Errors of GC

b. 330-331

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

b-d1 repeated in A (→GE)

b-d1 tied in FE (→EE)
..

The tie of the b-d1 third is probably a Chopinesque correction, introduced in the proofreading of FE (→EE).

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 330

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

f in A (→GE) & EE 

d in FE
..

The version of FE is almost certainly erroneous (in that edition a number of Terzverschreibung mistakes was committed). The error was corrected in EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error

b. 330

composition: Op. 2, Variations, complete

..

In GE3 two Terzverschreibung mistakes were committed in this bar – g1 instead of e1 on the 2nd semiquaver in the bar, and C instead of E on the 2nd L.H. quaver.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Terzverschreibung error

b. 330

composition: Op. 2, Variations, complete

Long accent in AsI

 in A

2  in GE (→FE,EE)
..

According to us, the version of the editions resulted from inattention of the engraver of GE1, who did not notice the change of dynamic indications at the end of the bar. The crescendo in A emphasises the dissonant chord, introducing E major as a new key, constituting the starting point for further modulation. The accent in AsI confirms that from the very beginning Chopin wanted to underline the chord on the 6th quaver in the bar.

category imprint: Differences between sources

issues: Errors in GE