mUltimate Chopin

Text Compare Notes Sources Description

Issues : Omitted correction of an analogous place

b. 16-20

composition: Op. 25 No 12, Etude in C minor

Different accents in FC

8 short accents in FE

6 short accents in EE

8 short accents in GE1

8 short accents in GE2

8 short accents in GE3

Long accents suggested by the editors
..

The accents in bars 16, 18 and 20 are written in the sources in the most varied way possible (here we discuss only 8 accents, without the 1st accent in bar 18 – see the note in that bar). The corrections visible in FC in bar 18, confirmed with similar changes in analogous bars 24, 26 and 28, prove that Chopin wanted to provide the 3rd and 4th beat of these bars with long accents, placed over the bottom stave. Similar corrections concerning the 2nd beat of the bar are visible in bars 72 and 78. According to us, it most probably meant that in all analogous bars the composer considered long accents placed between the staves to be most accurate, as we suggest it in the main text. Therefore, we consider the short accents in bars 16 and 20 to be the original version, left by inattention.

category imprint: Differences between sources

issues: Long accents , Omitted correction of an analogous place , Authentic corrections of FC

b. 16

composition: Op. 63 No. 3, Mazurka in C# minor

Double slur in FE (→GE,→EEW)

1 slur suggested by the editors
..

According to us, the additional slur, present in all sources, is a consequence of unclear notation in [A] or a remaining element from before corrections, hence we do not include it in the main text.

category imprint: Editorial revisions

issues: Omitted correction of an analogous place

b. 17

composition: Op. 28 No. 8, Prelude in F♯ minor

b1 in sources, contextual interpretation

a1 suggested by the editors
..

In all sources, the 3rd demisemiquaver in the 2nd group is a b1 (literal interpretation). It is the initial uncorrected version, left by inadvertence – in A, initially, the 3rd demisemiquaver in the first two figures of each of b. 15-18 was a b1, which Chopin then changed to a1 in 7 out of 8 places. Such an oversight in correcting one of a few analogous places would happen to Chopin on a few occasions. The fact that he forgot the discussed note while performing corrections is also evidenced by it having been left without a , which was before the respective note of the 1st group of the bar in the initial version.

category imprint: Interpretations within context; Editorial revisions

issues: Omission of current key accidentals , Errors of A , Omitted correction of an analogous place , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 24

composition: Op. 25 No 3, Etude in F major

Pedal change in GC (→GE1)

No markings in FE, EE & GE2 (→GE3)
..

One can have doubts whether the additional pedal change written in GC (→GE1) is compatible with Chopin's intention. The composer deleted pedal changes in GC in similar situations on a number of occasions (see the characteristics of this copy). The compatible version of FE and EE, following in the direction of these changes, allows us to consider the fact of leaving the pedal change in this place as an inaccuracy at the time of introducing corrections. 

category imprint: Differences between sources

issues: GE revisions , Omitted correction of an analogous place

b. 25

composition: Op. 30 No. 1, Mazurka in C minor

No mark in sources

Long accent suggested by the editors
..

In the main text we add a long accent over the a1 minim after the marks added by Chopin to FC in analogous bars 17, 19 and 27. The reason for this very likely oversight by Chopin could have been the fact that the discussed bar is at the end of a page.

category imprint: Editorial revisions

issues: Omitted correction of an analogous place