mUltimate Chopin

Text Compare Notes Sources Description

Issues : Authentic post-publication changes and variants

b. 57

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

The version of A

d1 not prolonged in GE

A stem and a dot added for d1 in FE (→EE)

The enriched version of FES
..

The versions of A, GE and FE (→EE) differ only in the accuracy of notation of the sustained note d1. In FES Chopin entered a different, melodically richer version of that bar that, in our opinion, may be regarded at least on a par with the version of FE. Cf. bar 59.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Inaccuracies in GE , Annotations in FES , Authentic corrections of FE , Authentic post-publication changes and variants , Main-line changes

b. 57-58

composition: Op. 10 No 7, Etude in C major

in A (→FE→GE,EE)

in FED

Our variant suggestion
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Chopin's annotation in FED defines a different dynamic concept of the final passage of the Etude in this place. We give the information on this alternative solution to the version of A (→FE→GE,EE) in the main text in the form of an annotation at the bottom of the page.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Authentic post-publication changes and variants

b. 57

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

No ornament in FE (→GE,EE)

Arpeggio with grace note in FEH

Our variant suggestion
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The arpeggio with a grace note, added in FEH, is a very characteristic ornament of Chopin – cf. e.g. the Concerto in F minor, op. 21, the 2nd mov., bar 75 or bar 17 and 85.

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 58-59

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

Run to c3 in FE (→GE,EE)

Run to c4 in FEH
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The notation of the variant written in FEH extending the roulade, so that it ends at the beginning of bar 59 with the c4 minim, does not define the number or the pitch of the notes in the extension of the roulade. We interpret it as a signal that one should use the model from its printed part. This kind of extensions of figurations can be found in a number of other Chopin's pieces – cf. e.g. the Waltz in A major, op. 42, bars 243-244. According to us, it practically guarantees the authenticity of this entry.

category imprint: Differences between sources

issues: Annotations in teaching copies , Authentic post-publication changes and variants , Annotations in FEH

b. 59-60

composition: Op. 27 No 2, Nocturne in D♭ major

No octaves in  A (→GE→FE→EE)

Two octaves in FED and FEJ

Three octaves in FES

The editors' variant proposal
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In the three teaching copies, the bass notes in  bar 59 were doubled with lower octaves. In FES the octave progression is consistently brought to the beginning of bar 60. In our opinion this means that Chopin considered the version with the octaves at least equivalent to the version of A (→GE→FE→EE), in which single notes appear.

category imprint: Differences between sources; Corrections & alterations

issues: Annotations in teaching copies , Annotations in FED , Annotations in FES , Authentic post-publication changes and variants , Annotations in FEJ , Bass register changes , Abbreviated octaves' notation