mUltimate Chopin

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

b. 11

composition: Op. 28 No. 9, Prelude in E major

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In A (→FE) and CGS, there are no accidentals in the L.H. part in the entire bar. Chopin's patent inaccuracy was corrected by Fontana in FC (→GE), who added naturals lowering G1-G to G1-G and D1-D to D1-D. An identical addition was introduced in EE. The accidentals were also added in FED.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , Omission of current key accidentals , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 12

composition: Op. 10 No 8, Etude in F major

Chord in A

Rest in FE (→GE,EE)
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The chord which opens the bar in A is written without the  before the topmost note, which is an obvious oversight. Chopin resigned from this chord, while proofreading FE (→GE,EE). The traces of its deletion – along with the arpeggio – are clearly visible in the subsequent copies of FE. Cf. bar 13.

category imprint: Differences between sources; Corrections & alterations

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

b. 12

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

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In GC and FE there is no  raising g1 to g1. This patent oversight was corrected in GE and EE. Similarly in bar 76.

category imprint: Interpretations within context; Differences between sources

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

b. 12

composition: Op. 35, Sonata in B♭ minor, Mvt IV

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In GC (→GE) and FE1 (→FE2→EE1) there are no naturals raising the 10th quaver to d1(2), which in this context is a patent oversight. The sign in the R.H. was added in the proofreading of FE3 (→FE4,FE5), whereas in FE5 a  was added also in the L.H. A natural in the part of the R.H. is also in Afin, in which, due to the abbreviated way of notation of the L.H., it refers to both hands.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Inaccuracies in GC , Inaccuracies in A

b. 12-14

composition: Op. 28 No. 6, Prelude in B minor

No accidentals in A (→FC→GE1)

Naturals in FE (→EE), GE2 (→GE3) & CGS
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The version of A (→FC→GE1), in which these three bars are based on the c-e-g diminished chord, most probably resulted from an oversight of the naturals lowering c to c (in various octaves) by Chopin. The correctness of the version of FE (→EE) is mainly evidenced by three teaching copies bearing clear traces of having been developed with Chopin, in which the C major chord as the harmonic basis of those bars was not questioned; it is also evidenced by CGS, which was written by a person who was both close to Chopin and a witness to the creative process of the cycle of Preludes. The naturals visible in FC are an addition by H. Scholtz, coming from the 1870s. The change introduced in GE2 could have been drawn from FE or a result of an accurate analysis of the harmonic structure of the piece by the reviser.

category imprint: Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , FE revisions , Last key signature sign