mUltimate Chopin

Text Compare Notes Sources Description

Issues : Inaccuracies in A

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. 168

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

..

The natural before the 2nd quaver in the L.H. (d), overlooked in A (→GE1→FE), was added in EE and GE2.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 168-169

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In A the naturals to the 2nd and 4th L.H. quavers in bar 168 and to the last quaver in bar 169 are missing – e, a1, B. The accidentals were added in GE (→FE,EE,IE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 170-172

composition: Op. 23, Ballade in G minor

Wedges in A, probable reading

Dots in FE (→GE,EE)
..

The available photograph of A gives no certainty as to the form of the staccato markings over the octaves in the middle of each of these bars, i.e. whether they are wedges or dots. It seems that the marks in b. 171 and 172 are almost certainly wedges, which is also possible in the case of b. 170, which, however, was not reproduced by the editions. In the main text we keep the dots present in our principal source, FE2, in spite of the fact that the marks were chosen (not necessarily accurately) probably by the engraver of FE. This solution is supported by the editorial consistency with respect to the dots over the quintuplet crotchets in b. 170-171 along with the arguments presented therein and by the aforementioned uncertainty of the interpretation of A on the basis of an imperfect photograph.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Wedges , Inaccuracies in A

b. 170-172

composition: Op. 23, Ballade in G minor

 in A, literal reading

in FE

in GE

in EE

 suggested by the editors
..

The interpretation of the three  marks in A can be approached from different angles:

  • Literal interpretation, in which the range of the marks is related to the respective R.H. crotchets, which results in three increasingly shorter marks. Such a version, suggesting increasingly shorter and milder crescendos, matches the descending direction of this sequence;
  • the difference in the range of the first two marks may be regarded as insubstantial, which suggests that all three hairpins should be unified, since the shape of the melody is the same in each bar. We suggest this version in the main text.

The versions of the editions resulted from the marks in b. 170-171 having been unified; none of these changes resembles Chopinesque proofreading process.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , Scope of dynamic hairpins , EE inaccuracies , Inaccuracies in A

b. 170-171

composition: Op. 49, Fantaisie in F minor

..

As in the 3 preceding bars, in A Chopin overlooked a number of necessary flats to g and c notes – in bar 170 to g1 and both to c1 (L.H. and R.H.), in bar 171 to g and c2. Only 3 of them were added by FE – both in the R.H. in bar 170 and one in the L.H. in bar 171. GE and EE show the correct text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals , FE revisions , Inaccuracies in A