mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors resulting from corrections

b. 29-31

composition: Op. 24 No. 1, Mazurka in G minor

The slurs of A (interpretation in context)
 

The slur of  GE1 (→FE→EE)

The slurs of GE2 (→GE3)
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The slur in A, despite its reaching quite far to the left towards the 1st crotchet, definitely begins from embracing the chord on the 2nd crotchet. Still, in GE (→FE→EE) the slur begins on the 1st crotchet. The result of corrections halfway through bar 30 is not obvious at the first glance and  GE1 (→FE→EE) do not end the slur at that point. A more detailed analysis of the notation reveals that Chopin divided the original slur, which was probably already noticed in GE2 (→GE3).

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccuracies in GE , Corrections in A , Errors resulting from corrections , GE revisions

b. 29

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

..

In A (→FC,FE) there is no accidental before the 2nd semiquaver in the last group. The patent mistake, probably caused by the corrections to the figuration in the 2nd half of the bar, was rectified in GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Omissions to cancel alteration , Errors resulting from corrections , GE revisions , Errors of A , Errors repeated in FE

b. 30

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

B with slur in GC (→GE)

B in FE1 (→FE2→EE) & FES

d in FE3 (→FE4,FE5)
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It seems to be highly unlikely that the change introduced in the proofreading of FE3 (→FE4,FE5) would correspond to Chopin's intentions. The present in the remaining sources B-A step of the enforced with octaves bass constitutes here the essence of the transition, introducing the middle section in the D major key. The importance of this step is emphasised by the slur in GC. It is likely that at the time of this correction a kind of misunderstanding arose (cf. the commentary to bar 20 and analog.). In two pupil's copies – one with B (FESch) and one with d (FED) – there are no corrections, yet in FES Chopin changed d to B. See also bar 84. 

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Errors resulting from corrections , Authentic corrections of FE

b. 31

composition: Op. 11, Concerto in E minor, Mvt I

No sign in Atut (literal reading→FE→GE,EE)

 in Atut, contextual interpretation
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In Atut, the R.H. part is written in this bar twice, most probably due to the non-inclusion of the bottom voice on the 3rd beat of the bar for the 1st time. In the corrected version, Chopin, however, overlooked the  mark, which was not included in the same FE (→GE,EE). According to us, it is highly unlikely that it was an omission – the composer forgot about the mark, since he was focused on those elements that required improvements, e.g. beams of the quavers in the melodic line.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Errors resulting from corrections

b. 33

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

Separate slurs in A

Continuous slur in GE (→FE→EE)
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The division of the slur in A is probably the original version, left due to deletions and inability to write a continuous slur in a graceful way. However, such slur is in the L.H. and in GE (→FE→EE), where Chopin's possible intention was interpreted correctly.

category imprint: Differences between sources

issues: Corrections in A , Errors resulting from corrections , GE revisions