mUltimate Chopin

Text Compare Notes Sources Description

Issues : Annotations in FES

b. 1-5

composition: Op. 28 No. 15, Prelude in D♭ major

No teaching fingering

Our suggestion based on FES
..

We give the fingering digit over the 1st R.H. note in the main text on the basis of the Chopinesque entry in FES in analogous b. 76 (see General Editorial Principles, p. 17). The first of the digits written in the same copy over the a1 minim in b. 1 is not very legible, yet the respective entry in b. 5 dissipates any possible doubts.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Annotations in FES

b. 1

composition: Op. 28 No. 14, Prelude in E♭ minor

Allegro in A (→FC→GE, →FE→EE)

Largo in FES
..

Largo written in FES instead of Allegro, which was crossed out, is most probably a teaching correction – it indicates the way the piece should be practised, and not a change of concept of the Prelude. Placing the Prelude in E Minor provided with Largo between the Preludes in F Major and D Major (Lento and Sostenuto, respectively) seems to be unlikely due to the structure of the entire cycle.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FES , Authentic post-publication changes and variants

b. 2

composition: Op. 10 No 4, Etude in C♯ minor

No fingering in AI & FE (→GE,EE)

Fingering written into FES

Fingering written into FED & FES in bars 10 & 60
..

In the main text we give here the fingering written by Chopin in FED in analogous bar 60 (cf. General Editorial Principles, p. 17). Some of these numerals are also written in bar 2 (FES) and bar 10 (FED and FES).

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FES

b. 2-3

composition: Op. 25 No 2, Etude in F minor

Fingering in FED

Fingering in FED

Our suggestion

No teaching fingering
..

The fingering digits pairs written in FED and FES complement each other.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES

b. 2

composition: Op. 28 No. 15, Prelude in D♭ major

41 written into FES, probable reading

51 written into FES, alternative reading

No teaching fingering
..

It is difficult to decipher the first of the two digits describing the change of fingers on the c2 minim in FES. At the first glance, it seems to be a three, which, however, cannot be obviously combined with the 2nd finger on a1 in b. 1. A close look reveals that the topmost part of the mark is vaguer, which suggests that it was written with a separate move. Therefore, a possible interpretation of that digit could be a five. It is also likely that it does not form a part of the mark at all, since it could be merely a trace of the pencil's move before the very act of writing. Such traces can occur when the writing person is in an inconvenient position, e.g. standing in front of a score placed on the music desk. In turn, the more distinct part of the entry resembles a four. The second and third interpretations result in pianistically natural solutions, i.e. the change of fingers from 5 to 1 or 4 to 1.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FES