mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic corrections of FE

b. 462-463

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

e3 in A (literal reading→GE→FE1)

e3 in A (contextual interpretation) & FE2

e3 & e3 in EE
..

Just like in bars 422-423, the flats lowering e3 to e3 and the cautionary  before e2 in the L.H. in bar 463 prove that the version of A (→GE→FE1), interpreted literally, is erroneous. In EE, a respective  is only in bar 463 (together with a  before e2), which is probably a result of an oversight of the sign in bar 462. 

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE , Cautionary accidentals , Omission of current key accidentals , Errors of A , Authentic corrections of FE

b. 469

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

..

In FE (→GE1→GE2), the second note in the L.H. is a crotchet, as a result of which the bar contains 5 quavers. The mistake, resulting from an inaccurate proofreading (the note was being changed from b to f​​​​​​​1, so the engraver might have erroneously printed here the next bar), was corrected in EE and GE3.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors resulting from corrections , Rhythmic errors , Authentic corrections of FE , Errors repeated in GE

b. 469-471

composition: Op. 31, Scherzo in B♭ minor

..

There is no accidental before the last note in b. 469 and before the penultimate one in b. 471 in A. This patent inaccuracy was corrected by Fontana in FC (→GE). Initially, both bars were deprived of the marks in FE; moreover, in b. 469 the discussed note was printed an octave too high (perhaps considering the use of an octave sign). That version was passed on to EE1, which added only the  in b. 471. In FE in the last phase of proofreading the note in b. 469 was moved to the right pitch, adding a  next to it, yet the mark in b. 471 was not added. In EE2 (→EE3) the pitch of the last note in b. 469 was corrected in accordance with the logic of the passage's structure, yet the  was not added.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Accidentals in different octaves , Errors in EE , Authentic corrections of FE , Fontana's revisions , Inaccuracies in A

b. 474-475

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

..

The traces of proofreading of the slurs in the L.H., visible in FE, allow for deciphering the original slurs, divided with a bar line. There is a similar situation in bars 476-477.

category imprint: Corrections & alterations; Source & stylistic information

issues: Authentic corrections of FE

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