mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic post-publication changes and variants

b. 45-52

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

Accompaniment in FES, literal interpretation

Accompaniment in FES, contextual interpretation

Version of remaining sources
..

In FES Chopin wrote a simplified reduction of the recitative's orchestral accompaniment, which can be used while performing this movement solo. The accompaniment is to be played with the L.H. instead of the original part and in few places also the part of the R.H. was completed. In bars 45-47 the notation is most probably inaccurate – the applied abbreviation, when interpreted literally, orders striking the bass in the bottom octave (A1), which is both sonically unjustified and technically uncomfortable (cf. similar inaccuracies in the Etude in A major, Op. 25 No. 1, bars 1-8 and the Nocturne in D major, Op. 27 No. 2, bar 1).

After choosing the version with the harmonic accompaniment, it may be necessary to select relevant versions also in bars 45 (pedal), 46 (staccato dots), 47-48 (slurs), 51 (slurs) and 52 (slurs and staccato signs).

category imprint: Differences between sources; Corrections & alterations

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

b. 46

composition: Op. 10 No 11, Etude in E♭ major

Two quavers in A (→FE→GE,EE)

Triplet in FED
..

The main text is the version written by Chopin in FED as an addition to the version of A (→FE→GE,EE). We give priority to the entry to the pupils' copy, as this kind of variation of repeating phrases is very characteristic for Chopin; he would often introduce it in the last phase of composing or to already finished pieces (cf. the Mazurka in G minor, Op. 24 No. 1, bars 57 and 59). In this situation an additional argument is the analogy to bar 27. We add the  omitted in the entry, lowering d3 to d3.

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

issues: Annotations in teaching copies , Annotations in FED , Omission of current key accidentals , Authentic post-publication changes and variants

b. 48

composition: Op. 43, Tarantella

FED

A, FC3 (→FE1→IE), EE, GE
..

In FED  is penciled in and most certainly it was done by Chopin himself. 

category imprint: Differences between sources; Corrections & alterations

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

b. 49

composition: Op. 27 No 2, Nocturne in D♭ major

D flat in A (→GE→FE→EE)

An octave sign written into FED
..

The sense and authenticity of this sign in FED is doubtless, yet due to the much more powerful and longer-sounding bass register of contemporary pianos this variant may only be used with utmost caution. 

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants , Bass register changes , Abbreviated octaves' notation

b. 49-50

composition: Op. 27 No 2, Nocturne in D♭ major

Dynamic markings in A (→GE→FE→EE)

 added in FED, FEJ, FES

 and  in FEFr

The editors' proposal
..

We perceive the indication  in bar 50, added by Chopin in the three teaching copies and written into FEFr, to be part of a definitive change of the dynamic concept in several fragments of the Nocturne (cf. bars 25-26, 45-46, 52). The   noted by Franchomme in FEFr naturally supplements that change.

category imprint: Differences between sources; Corrections & alterations

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