mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors of A

b. 251

composition: Op. 2, Variations, complete

Quaver & rests in AsI & GE2 (→GE3,FESB)

Empty staff in A (→GE1→EE1)

Quaver in EE2 (→EE3)
..

In A (→GE1→EE) the top stave remained unfilled in this bar, which did not attract the engraver's attention in GE1 (→EE1). The mistake was corrected by FE and GE2 (→GE3,FESB) by introducing notes and rests, as a result of which the complete record is compliant with the sound of the orchestra and present already in AsI. The correct text was also introduced by EE2 (→EE3), in which the rests filling this bar on the top stave were omitted. This kind of notation, more clearly indicating that the bass octave motif should be performed with two hands, could be even considered more convenient, particularly since this is how the next bars are written down (without rests on the top stave).

category imprint: Interpretations within context; Differences between sources

issues: Errors of A

b. 253

composition: Op. 2, Variations, complete

g in AsI, FE & EE3

g in A (→GE→FESB,EE1→EE2
..

The missing  lowering g to g in A and the majority of the editions must be Chopin's mistake, which is proven by g present in AsI (both in the piano and the orchestral part) and in the violas and the bassoon in GEork (→FEork). In addition, the accidental was added, probably by Chopin, in the stage of proofreading FE; it is also in EE3.

category imprint: Differences between sources

issues: EE revisions , Errors of A , Authentic corrections of FE

b. 255

composition: Op. 2, Variations, complete

..

Both in the last L.H. chord and in the R.H. arpeggio on the 4th beat of the bar, neither AsI nor Af nor A (→GE1→FE,EE) contain accidentals before g/g notes in various octaves. Actually, harmonically speaking, g would be possible; however, in this context, it is much more likely that we are dealing with overlooked naturals:

  • after changing the key signature, Chopin was uncertain which were valid – this is proven by numerous unnecessary flats before d, g, a and even e and b in bars 255-259 in AsI; in A there is still a flat before B at the end of bar 255 and before g2 in bar 256;
  • diminished seventh chords belonged to young Chopin's favourite ones.

The decisive argument for g is provided by the orchestral part – there is a g note in the 2nd violins, and the violins could not play g here.

The first edition to add naturals was GE2 (→FESB), 4 accidentals in total raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H. The overlooked  to the 2nd demisemiquaver (g3) was added by GE3, in which, however, the accidental to the penultimate demisemiquaver, g, was overlooked.

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Last key signature sign

b. 256-260

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

..

In the part of the L.H. neither the clef was changed to the treble one in bar 256 nor the bass clef returned at the end of bar 260 in A. These patent oversights – particularly taking into account the orchestral part of Morch with the constantly held G major chord – were corrected already in GE1 (→FE→EE, →GE2).
The treble clef written in pencil in bar 256 is probably a later, foreign addition – cf. a similar situation in the 2nd mov. of the Concerto, bar 50. 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Errors of A

b. 256

composition: Op. 23, Ballade in G minor

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A (→FE) did not restore the bass clef before the chords. Chopin's mistake was corrected both by GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Errors of A , Errors repeated in FE