mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic post-publication changes and variants

b. 16

composition: Op. 27 No 2, Nocturne in D♭ major

The rhythm of A (→GE→FE→EE)

Possible interpretation of the notation of FES
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The meaning of the line drawn in FES linking the 6th third a flat2-c flat3 with the 3rd semiquaver of the left hand is unclear. Similar signs are most often employed to show the correct synchronization of both hands, yet in this case this would be a considerable alteration of the rhythm, not merely a more detailed explanation.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Synchronization markings , Annotations in FES , Authentic post-publication changes and variants

b. 21

composition: Op. 27 No 2, Nocturne in D♭ major

A (→GE→FE→EE)

A variant given in FEFr
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The variant written by Franchomme into FEFr displays all the elements of Chopin's style. It is not unlikely that a zigzag visible in FED between the grace note b double flat1 and the following f flat2 means a similar ornamental phrase.

category imprint: Differences between sources

issues: Annotations in FEFr , Authentic post-publication changes and variants

b. 22-24

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

Simplified version in FEJ (contextual interpretation)

Simplification with fingering in FES (interpretation)

No teaching simplifications
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In FES and FEJ the runs of the L.H. were reduced to four last notes, which were entrusted with the value of a semiquaver. It is undoubtedly a facilitation aiming at possibilitating an amateur performance of the Etude to the technically less advanced pianists. As in both places FES includes Chopin fingering, concerning the original, full version of these passages, we consider the introduced facilitations as the ossia più facile versions and we include them in the form of variants of the basic text of these sources.

The notation of FEJ is of a more draft nature, transferring only the general idea of this facilitation. It is probably the reason of leaving the a1 note in the last chord in the R.H. in bar 24, which is gauche from the piano and sound point of view.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ

b. 25

composition: Op. 27 No 2, Nocturne in D♭ major

The initial concept of the dynamics in A (→GE→FE→EE)

Deleted hairpins in FEJ and FES

 written into FEFr

The editors' variant proposal
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The return of the first theme of the Nocturne in bar 26 was initially  – in A (→GE→FE→EE) – preceded with a . mark. Chopin deleted it in FEJ and FES, and in FEFr Franchomme removed   and written in  .

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in FES , Annotations in FEFr , Authentic post-publication changes and variants , Annotations in FEJ

b. 26

composition: Op. 27 No 2, Nocturne in D♭ major

No dynamic indications in A (→GE→FE→EE)

 written into FED, FEJ and FES

 in FEFr
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We adopt as binding the dynamic marking written by Chopin into all the three extant teaching copies. A similar dynamic concept for the return of the 1st theme was confirmed by Franchomme in FEFr.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic post-publication changes and variants