mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic corrections of EE

b. 46-49

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

Long accents &  in GC (→GE)

Long accents in bars 46-47 in FE

5 short accents in EE1

6 short accents in EE2

Long accents in bars 47 & 49 suggested by the editors
..

The differentiated source versions of the signs of a dynamic character – accents and  – is a result of overlapping of possible mistakes (e.g., no signs in FE in bars 48-49), inaccuracies (short accents in EE) and revision (repetition of the signs from the top stave on the bottom in EE1, addition of an accent in bar 48 in EE2), as well as Chopin corrections. The composer may have added signs in bars 48-49 in GC and he almost certainly completed the notation of EE, by adding in a copy of FE2, being the base text to this edition, an accent in bar 49 (together with cresc. - -). In the main text we suggest indications modelled after the similarly completed version of EE1 in bars 234-237, in which the indications added by Chopin do not interfere neither with the previous ones of FE, nor with the ones added by the reviser.

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

issues: Errors in FE , Authentic corrections in GC , Authentic corrections of EE

b. 48-56

composition: Op. 42, Waltz in A♭ major

Pedalling in FE

Pedalling in EE

No pedalling in FEG (→GE)
..

In FE there is no pedalling in bars 48-51 (it is to be found only in bars 55-56). There is no reason to doubt the authenticity of the pedalling in EE even though it could result from Chopin's mistake—while preparing the basis for EE the composer has presumedly written the pedalling into bars 45-51 (the first line of text on the second page of FE and EE) mistaking them for bars 41-47.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE , Authentic corrections of EE

b. 49

composition: Op. 42, Waltz in A♭ major

d1-e1 in FE

d1-e1-g1 in GE & EE
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The d1-e1 second in FE is the original version – in FEG (→GE) Chopin added a g1 note to it. Also EE has a completed version with the d1-e1-g1 chord. Therefore, the fact of leaving the original version in FE seems to be Chopin's oversight. 

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Authentic corrections of GE , Authentic corrections of EE

b. 49

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

No ornament in GC (→GE) & FE

Grace-note in EE

Our variant suggestion
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Chopin added the g2 grace note in the base text to EE, it is also present in the respective bar of Amar (cf. bar 33). In the remaining sources, the bar is an exact repetition of bar 33. Chopin would often use this kind of diversification of repeating motifs, cf., e.g., the Nocturnes in B major, Op. 32 No. 1, bars 22 and 43 and Op. 62 No. 1, bars 3-4, as well as the Concerto in E minor, Op. 11, 2nd mov., bars 33 and 41 (the bassoon part).

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of EE

b. 50-54

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

No slurs in GC (→GE) & FE

Slurs in EE

Our alternative suggestion
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Three phrase marks were probably added by Chopin in the base text to EE and, being the expression of the composer's latest intention, we give them in the main text. Our alternative suggestion includes a possibility of an inaccurate interpretation of signs by the engraver. Similarly in bars 238-242.

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

issues: EE inaccuracies , Authentic corrections of EE