mUltimate Chopin

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Issues : Scope of dynamic hairpins

b. 141-143

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

  in AF (→FE)

  in GE

 in EE
..

In the main text we give the   hairpins after AF (→FE), in which they are compliant with all markings of the sources in analogous b. 145-147. It suggests that the marks of GE in the discussed bars may be inaccurate. The absence of the second mark in EE is most probably a mistake.
In AI such markings are absent for the rest of the Mazurka.

category imprint: Differences between sources

issues: Scope of dynamic hairpins

b. 146-147

composition: Op. 23, Ballade in G minor

in A

Longer  in FE (→GE,EE)
..

In the main text, we keep the approximate range of the  hairpin entered into A. The engravers of Chopinesque first editions would often extend hairpins so that they occupy an entire bar; such a procedure was applied in this case by FE (→GE,EE). The difference, as small as it may be, may suggest an erroneous interpretation, particularly at the end of the bar – it is difficult to assume that Chopin would have wanted the crescendos to go beyond the penultimate, highest quaver. See also b. 148.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins

b. 147-148

composition: Op. 64 No 2, Waltz in C♯ minor

2 different length  in A

4 longer  in FE (→GE,EE)

4 shorter  suggested by the editors
..

In bars 147-148 and 151-152 we suggest a  hairpin in the main text, in accordance with the notation of A in analogous bars 3-8 – see the note to bars 19-24. The signs added in bars 147-148 in the proofreading of FE (→GE,EE) – probably on Chopin's request – are clearly longer, yet there is no certainty that they were reproduced in full accordance with his intention (inaccuracies in this respect were very frequent and even Chopin himself could have been influenced by the longer signs visible in analogous bars on this page). The longer signs can be, however, considered to be an equal alternative to our suggestion in all four bars.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Scope of dynamic hairpins , Authentic corrections of FE

b. 148

composition: Op. 23, Ballade in G minor

Half-bar  in A

Whole-bar  in FE (→GE,EE)

 suggested by the editors
..

We interpret the notation of A as incomplete or perhaps erroneous. Chopin wrote a  only in the 1st half of the bar, on which the end of the line falls in A; perhaps he was convinced that the bar had already ended or simply forgot to write the ending of the mark in a new line. Anyways, the shape of the figurations in this bar suggests that the crescendo should be continued in the 2nd half of the bar and to the very end, since the topmost note falls only just on the beginning of the next bar (unlike in the previous two). Due to the above, in the main text we model the beginning of the mark after previous analogous bars; as far as the ending is concerned, we lead it to the end of the bar.

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

issues: Scope of dynamic hairpins , FE revisions , Inaccuracies in A

b. 156-157

composition: Op. 23, Ballade in G minor

  in A, literal reading

  in FE (→GE,EE)

  suggested by the editors
..

The change of the range of the   hairpins must have resulted from a routine revision carried out by the engraver of FE (→GE,EE), who adjusted the marks to the rhythmic structures, i.e. an entire bar in b. 156 and half of a bar in b. 157. In A, the  mark in b. 157 is noteworthy, since it clearly begins before the first notes (this bar opens a new line) and reaches only the 5th quaver in the bar, which stands in stark contrast to the  mark in the previous bar, which occupies almost an entire bar. According to us, such a position of the mark may be explained by lack of space between the staves in the 2nd half of the bar and by the intention to compensate it having been excessively shortened by starting the mark earlier on the left-hand side, so that its length could be comparable to the  mark. Taking into account the above, in the main text we suggest a contextual interpretation of the marks of A resulting from the above analysis.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , Scope of dynamic hairpins