mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic corrections of GE

b. 11-15

composition: Op. 50 No. 2, Mazurka in A♭ major

No ornaments in A1 (→FE→EE)

Mordents in GE
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Chopin could have added the mordents in b. 11 and 15 already in [A2] or only just in the proofreading of GE1 (→GE2). The same applies to b. 46 and 50 and 86 and 90.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of GE

b. 11

composition: Op. 2, Variations, complete

Ornament in AsI

Grace notes before trill in A (→GE1→EE)

Grace notes after trill in GE2 (→GE3,FESB)

Grace notes before & after in FE
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According to the notation of AsI, the intended shape of the melody of this fragment always included the bottom second (b1), both in the introduction and the ending. Therefore, the fact that A (→GE1→EE) does not include a written-out ending of the trill does not mean that Chopin intended a performance without an ending; it is simply an inaccurate notation. The changes introduced into GE2 and FE resulted from Chopin's intervention, whereas GE2 misinterpreted Chopin's indication, as a result of which the grace notes were encompassed with an octave sign and not added after the trill (as they should be).

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Authentic corrections of FE , Authentic corrections of GE

b. 12-14

composition: Op. 24 No. 3, Mazurka in A♭ major

Slur in AI

Slur in A

Slurs in GE

Slurs in FE (→EE)

Our alternative suggestion
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Slurs over bars 13-14 have different versions in the sources, and each of them can be authentic. begins and ends one crotchet earlier in AI (shorter ending may result from Chopin's inaccurate notation). In GE1 (→FE→EE) the slur is preceded with an additional short slur c2-d2 in bars 12-13. Moreover, in EE the beginning of the longer slur is shifted to the note e flat2 in bar 13. In our main text we rely on A.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of GE

b. 12

composition: Op. 25 No 1, Etude in A♭ major

No sign in AI, CDP & EE1 (→EE2)

 in A (→GE1), GE3 & EE3

  in GE1a (→GE2)

 in FE
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The longer hairpins in A may have concerned the renounced by Chopin (deleted in A) version where he would raise the fifth of the chord only on the 4th beat of the bar. In the main text, we give the hairpins corrected by Chopin in GE1a (→GE2). The version of GE3 is a result of a revision returning the state before the proofreading of GE1a; the version was introduced also in EE3.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , GE revisions , Authentic corrections of GE

b. 12

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

No slur in A & GE2

Half-bar slur in GE1 (→FE→EE)

Our alternative suggestion
..

The slur could have been added by Chopin in the proofreading of GE1 (→FE→EE), however, even if it was so, it is hard to assume that he wanted to embrace with it only a part of the bass's motif. In the face of doubts concerning the authenticity of both the slur as such and its range, in the main text we do not include this sign. In turn, we suggest a slur embracing the entire sequence of bass in this bar as an acceptable variant. See also the note on  the hairpin. 

category imprint: Differences between sources

issues: Authentic corrections of GE