mUltimate Chopin

Text Compare Notes Sources Description

Issues : Accompaniment changes

b. 262

composition: Op. 2, Variations, complete

Chord in AsI, FE & EE3

Supplemented FE version suggested by the editors

Chords & 'Violini' in Af

Chords &  in A

Solo part only in GE (→EE1→EE2, →FESB)
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The versions of Af and A, identical in terms of the way they sound, differ only in additions – an indication specifying the instrumental group in Af and a  in A. As was the case with the previous such insert between bars 261-262, this replica was left out by GE (→FESB,EE1→EE2). In this case, however, it is difficult to indicate the probable cause of why this edition diverts from the basis. The fact that this insert was restored to FE in the initial version proves that Chopin hesitated whether to recall a chord being the basis of the first three beats of the bar at the expense of blurring the shape of the solo part.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Errors in GE , Accompaniment changes , Authentic corrections of FE

b. 263

composition: Op. 23, Ballade in G minor

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In A one can see a deleted note in the chord (b).

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A , Accompaniment changes

b. 268

composition: Op. 42, Waltz in A♭ major

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In FEG and in the base text to EE Chopin changed enharmonically b to c1.

category imprint: Differences between sources; Corrections & alterations

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

b. 269

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, present in FE, is the original version – in FEG (→GE) Chopin added to it a g1. EE also features the completed version with the d1-e1-g1 chord. Therefore, the fact of leaving FE in the original version must be considered as Chopin's oversight.

category imprint: Differences between sources

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

b. 269-270

composition: Op. 43, Tarantella

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Crossings-out visible in A show that the two last bass octaves were originally written an octave higher.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Accompaniment changes , Bass register changes