mUltimate Chopin

Text Compare Notes Sources Description

Issues : Placement of markings

b. 10-12

composition: Op. 50 No. 3, Mazurka in C♯ minor

No marks in AI & GE

Long accents in AF

Marks in FE (→EE)
..

We reproduce the short  hairpins in b. 10 and 12, whose nature is clearly the one of long accents, after AF (in FE and EE they were moved under the R.H. part). The absence of these marks in GE is probably an oversight of Chopin: in analogous b. 102-104 it is precisely GE that is the only source containing those marks.

category imprint: Differences between sources

issues: Placement of markings , FE revisions

b. 10

composition: Op. 44, Polonaise in F♯ minor

 over g1 in GE, EE & FES

 under e1 in FE
..

The  mark having been placed in FE almost certainly resulted from the routine approach of the engraver of FE, who moved the mark from above the beam to the side of noteheads – such a placement of marks is generally preferred with only one melodic line on the stave (the first trill in this bar is placed in the same manner, which, however, does not influence its meaning). In the discussed place, this version of notation, suggesting that  refers to e1, must be contrary to Chopin's intention, which is evidenced by the musical sense, confirmed by the version of notation of GE, based on [A]. In FES the mark was crossed out and written over g1; the right text is also in EE.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Placement of markings , Annotations in FES

b. 15

composition: Op. 10 No 5, Etude in G♭ major

Long accent in A

Dots & long accent in FE (→EE)

Dots & short accent in GE1 (→GE1a) & GE5

Dots & short accent in GE2 (→GE3→GE4)
..

The staccato dots under the quavers were added by Chopin while proofreading FE (→GE,EE). In GE a short accent was applied, moreover, in GE1 (→GE1a) and again in GE5 the mark was moved over the crotchet.

category imprint: Differences between sources; Corrections & alterations

issues: Long accents , Placement of markings , GE revisions , Authentic corrections of FE

b. 17

composition: Op. 28 No. 18, Prelude in F minor

2 long accents & staccato dot in A

Long accent in FC

Short accent in L.H. in FE1

Short & long accents in FE2

Short accent in GE

Vertical & long accent in EE
..

In the main text we reproduce the very precise performance marks for the chord on the 2nd beat of the bar in A: long accents over f4 and the L.H. chord and a staccato dot under f3. The R.H. marks were overlooked both in FC (→GE) and FE1, which is justified to a certain extent, since both marks are poorly visible. The L.H. accent (short) was placed in FE under the chord, as a result of which the R.H. octave is not accented at all. FE2 tried to amend it by adding a long accent under it. Introduction of a vertical accent in EE is an arbitrary decision typical of that publisher – cf. the previous bar.

category imprint: Differences between sources

issues: Long accents , EE revisions , Errors in FE , Inaccuracies in GE , Placement of markings , FE revisions , Errors of FC

b. 20-21

composition: Op. 10 No 3, Etude in E major

Slur in A & GE2 (→GE3→GE4→GE5)

Slur in FE (→GE1,EE)
..

The shorter slur of FE (→GE1,EE) is certainly a result of a too literal interpretation of A. Moreover, in FE (→EE) the slur was placed under the stave. The graphic layout of GE is similar to A in this respect.
See the note at the beginning of the bar.

category imprint: Differences between sources

issues: Placement of markings , GE revisions , FE revisions