mUltimate Chopin

Text Compare Notes Sources Description

Issues : Scope of dynamic hairpins

b. 230

composition: Op. 31, Scherzo in B♭ minor

No sign in A (FE→EE)

 in FC (→GE1)

 in GE2 (→GE3)
..

In the main text we give the  hairpin entered by Chopin into FC (→GE1). In subsequent GE the mark was arbitrarily shortened and moved to above the top stave. A similar situation can be found in b. 681.

category imprint: Differences between sources; Corrections & alterations

issues: Placement of markings , Scope of dynamic hairpins , GE revisions , Authentic corrections of FC

b. 237-238

composition: Op. 21, Concerto in F minor, Mvt III

 to bar 238 in A

 in bar 237 in GE (→FE→EE)
..

The shortened  hairpin in the editions was certainly a result of inaccuracy of the engraver of GE1.

category imprint: Differences between sources

issues: Inaccuracies in GE , Scope of dynamic hairpins

b. 239-240

composition: Op. 31, Scherzo in B♭ minor

No sign in A (→FE→EE)

 in bar 240 in FC (→GE1)

 in bars 239-240 in GE2 (→GE3)
..

In the main text we give the  mark entered by Chopin into FC (→GE1). In GE2 (→GE3) the mark was extended so that it encompasses two bars (from b. 239) after the authentic  mark in analogous b. 107-108. A similar situation can be found in b. 690-691.

category imprint: Differences between sources; Corrections & alterations

issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC

b. 244-245

composition: Op. 11, Concerto in E minor, Mvt III

 in FE (→EE,GE1→GE2)

No sign in GE3

 in bar 244 suggested by the editors
..

According to us, the  hairpin in bar 245 was placed in the sources on the wrong side of the bar line. It is indicated by the mark in the next, analogous phrase, appearing earlier, at the end of the first bar of the phrase. Such subsequent, short  marks are most probably meant to indicate gentle long accents, hence their accurate placement is essential for the correct interpretation of their meaning. Taking that into account, in the main text we move the mark to under the last triplet in bar 244, after the mark in bar 246, which, according to us, interacts better with the remaining hairpins and accents in bars 244-247.
​​​​​​​The absence of the mark in GE3 is most probably an oversight.

category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins , Errors in GE

b. 265

composition: Op. 2, Variations, complete

in A

in GE1 (→GE2)

 in FE1, EE & GE3

in FESB
..

The  hairpin is written in A between the staves and begins after the 1st R.H. chord (in Af the bottom arm starts as early as at the beginning of the bar). In GE (→FE,EE) the mark was moved to over the R.H. part, which, in this case, does not significantly influence its meaning. The change was most probably forced by lack of space between the staves; it cannot come from Chopin. The slight change of range in GE1 (→GE2) – the beginning of the mark was moved slightly to the right – was intensified by all subsequent editions, while FESB additionally reversed the direction of the mark, which is a frequent mistake in the first editions of Chopin's pieces. 

category imprint: Differences between sources

issues: Errors in FE , Inaccuracies in GE , Inaccuracies in FE , Placement of markings , Scope of dynamic hairpins , GE revisions , EE inaccuracies , Sign reversal