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Issues : Authentic post-publication changes and variants

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b. 42

composition: Op. 25 No 6, Etude in G♯ minor

a-c1 in contextual interpretation of FC, FE, GE1, EE1 (→EE2) and in GE2 (→GE3), EE3 & FED

a-c1 in FEJ & FES, contextual interpretation, and FED, possible interpretation

a-b suggested by the editors – enharmonic notation of FEJ & FES, 
..

When publishing the Etude, Chopin envisaged c1 as the middle note of the chords from 4 to 7. The version is included in FC (→GE), FE and EE, yet only in GE and EE3 it was written without mistakes, with the necessary  lowering a to a. However, in all three preserved copies with Chopin's annotations there are entries proving the change of intention. In FEJ, a  lowering c1 to c1 was added in the 4th chord, in FES such naturals are before the 4th and 6th chords. In addition, the  added by Chopin before the 4th chord in FED, despite its lower position, can refer to the middle note (c1), as a should not have raised any doubts even without the necessary . Therefore, in all three cases Chopin changed the middle sound in the chords from 4 to 7 in a simplified enharmonically way from c1 to b. The version (our main text) bears features of Chopin improvement – in the original version, the effect of the change from c1 to b at the transition between bars 41 and 42 is reduced due to the later return of c1 in the middle of bar 42.  

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

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

b. 45-46

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

Dynamic markings of A

GE

FE

EE

Deletions and additions in FED

Changes written into FEJ

Changes in FES

Changes in FEFr

Our suggestion based on FEJ & FED
..

In particular sources, dynamic markings in those bars differ significantly. The version of A reproduced – despite various inaccuracies - in GE (→FE→EE) was later fundamentally changed, which can be seen in energetic deletions and additions in teaching copies and FEFr.

category imprint: Differences between sources; Corrections & alterations

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

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