mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors in FE

b. 1

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

AI

A

FE1

FE2

GE1

GE1a (→GE2→GE3→GE4→GE5)

EE2 (→EE3)

EE4
..

In the main text we give the title and dedication in the undoubtedly authentic version adopted in FE. The extensions of both the title (in GE and EE) and dedication (in EE) most probably come from the editors. See the Etude in C major, No. 1, bar 1.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Dedications , GE revisions

b. 1-6

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

..  

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE

b. 1

composition: Op. 25 No 7, Etude in C♯ minor

Quavers in GC (→GE) & EE

Crotchets in FE
..

In the main text we suggest quavers, as their authenticity is beyond any doubt. In turn, the crotchets in FE may be a result of the engraver's inattention – the spaces between the c-B and B-a notes correspond to the previous space c-c (quaver) and not G-d (crotchet), which probably means that the engraver planned the notes, seeing quavers in the base text, however, then he omitted this place while adding the beams. On the other hand, one cannot completely exclude Chopin's proofreading in FE – he may have accepted crotchets during the lessons, as an appropriate correction was not written in any of the three pupil's copies (two of them – FED and FES – bear clear traces of a detailed development of the Etude with Chopin, while in FES the first added fingering concerns exactly these two notes). 

category imprint: Differences between sources

issues: Errors in FE

b. 1-5

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

in bar 5 in GC (→GE) & EE

in bar 1 in FE
..

Placing a metronome marking at the beginning of the Etude in FE is certainly a mistake. This edition adopted – in the entire Opus 25 and in other pieces – a graphical solution consisting in placing indications concerning metronome not above the notes (next to the tempo indication), yet in the indent of the first line of the note text. The rule was applied also here, not taking into account the fact that it is misleading in relation to the different tempo of the first four bars.

category imprint: Differences between sources

issues: Errors in FE

b. 1

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

in GC (→GE) & EE2

in FE (→EE1)
..

The  time signature in FE (→EE1) is almost certainly a result of inattention or manner of the engravers of FE, who in numerous pieces by Chopin seemed not to differentiate between  and  – see the Etudes, Op. 10 or the Impromptu in A major, Op. 29. Therefore, in the main text we give , written in GC (→GE), whose correctness and authenticity do not raise any doubts. This time signature – probably under the influence of GE – was introduced also in EE2.    

category imprint: Differences between sources

issues: EE revisions , Errors in FE , 4/4 or 2/2