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. 436

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

..

There is no  raising d1 to d​​​​​​​1 before the 1st semiquaver in FE, which is necessary due to the previous chord having been written on the bottom stave. The mistake was corrected in EE by adding a , whereas in GE by moving the chord to the top stave (as in the main text).

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , GE revisions

b. 436-437

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

No fingering in FE (→GE)

Fontana's fingering in EE

Fingering written into FEH
..

In spite of compliance of the fingering for the 1st third of the phrase, Fontana's indications in EE probably do not strictly correspond to the fingering intended by the person using FEH – it is proved by the differences in analogous bars 412-413. The authenticity of fingering is questionable in both sources.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FEH

b. 436-438

composition: Op. 16, Rondo in E♭ major

 
 
..

category imprint: Differences between sources

issues: Inaccuracies in GE , Hairpins denoting continuation

b. 436

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

..

We add cautionary sharps before d2 and d​​​​​​​1 in the main text.

category imprint: Editorial revisions

b. 436

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

Wedge in FE

2 wedges in GE1 (→GE2) & EE

2 dots in GE3
..

The missing wedge in the L.H. part is probably an oversight. Admittedly, we considered the wedge in bar 419, present only in the part of one of the hands, to be probably erroneous, yet in the case of the discussed bar there are not as many analogous situations allowing for comparisons (only bar 192), which leaves us without grounds to question the wedge in the R.H. featured in the sources. The accuracy of the change of wedges to dots in GE3 cannot be excluded – wedges do not appear among the staccato marks used in this theme by Chopin; nevertheless, according to us, it is not a sufficient argument to modify the version of the principal source.   

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Wedges