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b. 1
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composition: Op. 23, Ballade in G minor
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Lento could have been entered by Chopin into the proof copy of the Ballade that served as the basis for GE1. However, it is uncertain whether that copy indeed included Chopin's amendments; therefore, the authenticity of Lento remains unsure. Chopin could have hesitated between these two indications – Largo works perfectly with the initial fragment, category imprint: Differences between sources issues: Errors in GE , Authentic corrections of GE |
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b. 1
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composition: Op. 23, Ballade in G minor
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As in many other works by Chopin, EE arbitrarily changed the authentic title of the Ballade, calling it "La Favorite". Cf Nocturne Op. 27 No. 1. category imprint: Differences between sources issues: EE revisions , Various titles |
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b. 1
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composition: Op. 38, Ballade in F major
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As in many other works by Chopin, EE arbitrarily changed the authentic title of the Ballade, calling it "La Gracieuse". It also omitted the dedication. Cf Nocturne Op. 27 No. 1. category imprint: Differences between sources issues: EE revisions , Dedications , Various titles |
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b. 1
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composition: Op. 23, Ballade in G minor
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In A, the pesante marking is written high on the top stave, while its beginning falls over the slur. Such a placement prompted the engraver of FE to put it over the top stave; however, in the stage of proofreading FE1, the indication was moved – probably at Chopin's request – to between the staves, directly over the R.H. part. category imprint: Source & stylistic information issues: Authentic corrections of FE |
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b. 1
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composition: Op. 2, Variations, complete
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The fact that Chopin did not provide in the title of his Variations either the composer or the title of the opera from which the theme was coming proves the duet's huge popularity in the musical world of both Warsaw and Vienna. It was the English publisher who added the relevant pieces of information; moreover, he embellished the title with a few impressive phrases – the piece was described as an "homage to Mozart" (Hom[m]age à Mozart), the variations were "grand and brilliant" (Grandes variations brillantes), while the duet from Don Giovanni was the composer's favourite (Duo favorit). Chopin tried to deal with Wessel's pompous, arbitrary titles in later years, yet without much success – cf. the letter to Fontana of October 9, 1841: "if he [Wessel] made losses on my compositions, it must have been for the silly titles he provided them with in spite of my telling him not to and in spite of Mr Stapelton mocking them several times; had I listened to my heart, I would not have sent him a single piece more after those titles." Therefore, it could be concluded that Chopin also did not have any influence on the changes Wessel made to the dedications, although in this case there are no traces of the composer's possible protests to confirm it. category imprint: Differences between sources issues: EE revisions , Dedications |
and pesante, whereas Lento seems to be better suited to the second phrase, played 
, imbued with sorrow and resignation.
