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. 11-12

composition: Op. 25 No 7, Etude in C♯ minor

Fingering written in FES

No teaching fingering
..

The fingering is written with the pupil's hand, most probably in the place of the less legible, pencilled fingering written by Chopin (cf. bars 13 and 14).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 11

composition: Op. 26 No 2, Polonaise in E♭ minor

Staccato dot in A

No mark in FE (→GE,EE)
..

On the basis of A, we give staccato dot on the first chord in the L.H. The mark over the chord was overlooked in all editions, most probably owing to the proximity of .

category imprint: Differences between sources

issues: Inaccuracies in FE

b. 11

composition: Op. 26 No 2, Polonaise in E♭ minor

..

GE4 added a cautionary  next to a1 in the L.H.

category imprint: Editorial revisions

issues: GE revisions

b. 11-12

composition: Op. 25 No 9, Etude in G♭ major

 in GC (→GE)

No sign in FE & EE
..

The missing hairpins in FE and EE seem to be Chopin's oversight here at the time of preparing Stichvorlage manuscripts.

category imprint: Differences between sources

b. 11

composition: Op. 25 No 11, Etude in A minor

..

In the 2nd half of the bar, the only accidental in the part of the R.H. in GC, FE and EE1 is a  raising d3 to d3. The notation, although inaccurate, determines also the sound of the 6th and 10th semiquavers in the 2nd half of the bar as d2 and d1. In turn, nothing indicates raising the 3rd, 7th and 11th semiquavers, which, in this situation, should read f3, f2 and f1. This version, however, is impossible in this melodic and harmonic context – the use of g as delay of the fifth of the B7 chord requires f (possibly f) as resolution. The sharps raising the discussed notes to f3, f2 and f1 were added in GE and later EE (in EE2 without  before the 11th semiquaver). Cf. bar 75.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Errors in EE , GE revisions , Omission of current key accidentals , Errors of GC