mUltimate Chopin

Text Compare Notes Sources Description

Issues : Deletions in A

b. 2-3

composition: Op. 28 No. 16, Prelude in B♭ minor

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In A one can see crossed-out pedalling markings, according to which the pedal should be changed every half bar – 3 times  .

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A

b. 3

composition: Op. 29, Impromptu in A♭ major

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In A one can see a deleted  mark written one triplet earlier.

category imprint: Corrections & alterations

issues: Deletions in A

b. 3

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

No signs in AI & CDP

  in A

  in GE

  in EE

  in FE

Our suggestion
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Chopin added the dynamic indication in this bar only at the time of preparing the Etude for print. Initially, he provided the f2 note with an accent (as in bar 2), yet eventually he chose a pair of   hairpins. However, the signs are imprecise – the arms of the first one are of different length, while the second seems to be shortened in order to avoid a possible illegible mergence of the sign with the note in the L.H. or the semiquaver beam in the R.H. (GE reproduced it in such a way). In the main text we suggest an interpretation of the hairpins of A based on the above analysis and comparison with FE and EE.

category imprint: Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Deletions in A

b. 3

composition: Op. 25 No 2, Etude in F minor

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Chopin hesitated whether to put cautionary flats before d1 and d3. The signs are included in the earliest source (AT) and in the published version, including GC (→GE), FE and EE. In turn, in CDP there is only the second of them, while AW included the first one (in the L.H.), yet Chopin eventually deleted it. Despite this fact, in the main text we give exactly this , returned in the later sources and, according to us, justified.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Cautionary accidentals , Deletions in A , Last key signature sign

b. 3-15

composition: Op. 28 No. 3, Prelude in G major

Rhythm without rests in FCI

Rhythm with rests in A (→FC→GE, →FE→EE)
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As far as the time intervals between subsequent R.H. notes are concerned, the rhythm of the first phrase (b. 3-6 and 12-15) is no different in FCI from the one Chopin eventually sent to be published. The crossings-out visible in A in b. 3 confirm that the version without rests, preserved in FCI, is earlier. Thanks to the rests, the theme is more precisely articulated and more volatile at the same time. It is also reflected in the slurring – see b. 12.
An analogous change of notation is also to be found in b. 11.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Main-line changes