mUltimate Chopin

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 1

composition: Op. 30, Mazurka in D♭ major

No dedication in FC (→GE)

Dedication in FE (→EE)
..

The absence of the dedication in FC (→GE) suggests that the decision concerning a dedication came relatively late in the publishing process of the Mazurkas. See the Mazurka in C minor no. 1.

category imprint: Differences between sources

issues: Dedications

b. 1-8

composition: Op. 2, Variations, complete

AsI, contextual interpretation

Remaining sources
..

In AsI, the piece begins with an orchestral eight-bar period based on a melodic and harmonic idea different from the published version. Only bars 1 and 8 show any similarity to the final version, the rest form a kind of skeleton of what the soloist then performs in bars 10-15 (this is especially clear in bars 3-6 in comparison with bars 11-14). We consider this original redaction to be the text of AsI and we present it as a unified variant of the entire bars 1-8. In addition, AsI also contains – on the page preceding the regular opening – a record of the later version, although only in the form of a string quintet score. It differs from the sources constituting the basis of the published version (A, GE1 and FE) only in the rhythm of the end of bar 8, which we describe in a separate note and include as a variant of the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Accompaniment changes , Main-line changes

b. 1

composition: Op. 2, Variations, complete

in AsI

in remaining sources
..

category imprint: Differences between sources; Corrections & alterations

issues: Changes of metre , 4/4 or 2/2

b. 1

composition: Op. 2, Variations, complete

Adagio in AsI

Largo in remaining sources
..

It draws attention that the change only concerns the nature of this part of the introduction, as the tempo – defined by the metronome – has remained unchanged.
Moreover, in AsI Chopin did not call the opening part an Introduction (or any other term).

category imprint: Differences between sources; Corrections & alterations

issues: Metronome tempos , Changes of tempo markings

b. 1-28

composition: Op. 63 No. 2, Mazurka in F minor

..

As is a typical sketch – without title, key signature, without any performance indications except a slur from the grace note to the d2 crotchet in bar 41 and perhaps a staccato dot over this crotchet. We do not consider these deficiencies to be variants, since they are simply a feature of the 'sketchy' nature of this manuscript. We discuss the deviations from the final pitch and rhythmic text in notes concerning particular places.
What is more, on a number of occasions, the notation is abridged or incomplete – repeated L.H. chords are written down as stems without noteheads; repeating sections are indicated only by the melodic voice (bars 27-32), while the return of the first section of the Mazurka (from bar 42) was marked with a zigzag meaning 'and so on and so forth'. There are also quite many omissions of accidentals. We reproduce such notation only in the graphic transcription (version 'transcript'). In the content transcription we fill in all these abbreviations, which, in terms of pitch and rhythm, leads to a version that is close to the published text (especially in the outermost sections). 

category imprint: Differences between sources