mUltimate Chopin

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Issues : FE revisions

b. 8-11

composition: Op. 28 No. 21, Prelude in B♭ major

Slurs from 2nd to 6th quaver in A, literal reading

Slurs from 1st to 6th quaver in FC (→GE)

Slurs from 2nd quaver to next bar in FE (→EE)

Slurs from 2nd quaver to next bar suggested by editors
..

When interpreted literally, 3 consecutive slurs of A reach only the last quaver in the bar; moreover, the starting point of the slur in b. 9 is also not entirely clear (we assume that it is the 2nd quaver). Due to the reasons discussed in b. 1-2, we consider them to be inaccurate; in the main text we generally adopt the slurs of FE (→EE), compliant with the manner in which Chopin would correct in A some slurs in similar figures. In b. 9-10 the notation of the topmost L.H. notes on the top stave and writing them closer to the b1 minim opens an additional interpretation of the L.H. slur as reaching that minim. We include that possibility in the main text, regarding the version of FE (→EE) as an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , FE revisions , Inaccuracies in FC

b. 8

composition: Op. 44, Polonaise in F♯ minor

..

In FE1 the last two R.H. dyads are c3-a3 sixths. This patent mistake was corrected in FE2 and EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error , FE revisions

b. 9

composition: Op. 50 No. 1, Mazurka in G major

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On the copy of FE2 presented in mUltimate Chopin, the c1 note seems to be removed from the first quaver in b. 9. Unfortunately, the inability to compare it with another copy – the only catalogued one is in the Viennese Gesellschaft der Musikfreunde, which does not share the digitised versions of their collection – does not allow us to check whether it is merely a misprint. If the note was actually removed, it could have been:

  • a mistake while removing the tie;
  • a revision – in terms of sound, the version of FE2 without c1 is very close to the version of A1, which holds the note;
  • Chopinesque proofreading performed ad hoc (according to us, least likely).

See the previous note.

category imprint: Differences between sources

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

b. 9

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

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In A (→FE1) there is no  raising c1 to c1 at the beginning of the 2nd group of semiquavers. That patent oversight of Chopin was corrected by Fontana in FC (→GE) and FE2 (EE). The accidental is also in FCI.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Fontana's revisions , Inaccuracies in A , Errors repeated in FE

b. 9-10

composition: Op. 28 No. 6, Prelude in B minor

  in A (→FC→GE)

  in FE

  in EE

No markings in CGS
..

Just like in the similar situations in b. 1, 3 and 5, we consider the top arm of the  mark in A to be more reliable, although in this case the difference in length is insignificant. We regard the minor inaccuracies in the reproduction of the   hairpins in FC and GE as similarly insignificant. The marks in FE, and to an even greater extent in EE, were adjusted to the main beats of the bars (routine revision, like in analogous places).  

category imprint: Differences between sources

issues: FE revisions