mUltimate Chopin

Text Compare Notes Sources Description

Issues : Omission of current key accidentals

b. 18-19

composition: Op. 10 No 6, Etude in E♭ minor

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In A (→FE) Chopin omitted the naturals raising B1 to B1, C to C and c to c. The second of them was added in FES. In GE a  was added at the end of bar 18, yet both signs in bar 19 appeared only in GE3 (→GE4→GE5). EE has the correct text. 

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Annotations in FES

b. 18

composition: Op. 35, Sonata in B♭ minor, Mvt III

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In GC (→GE1) and FE there is no  raising g2 to g2. The frequently encountered in Chopin's works oversight was corrected in EE and GE2mar (→GE2). Similarly in bars 26, 72 and 80.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in GE , GE revisions , Omission of current key accidentals , Errors of A , Last key signature sign , Errors of GC

b. 18

composition: Op. 64 No 2, Waltz in C♯ minor

Crotchet & a-c1 in As (literal reading)

Crotchet & a-c1 in As (probable interpretation)

Crotchet & a-c1-d1 in AI (literal reading)

Crotchet & a-c1-d1 in AI (probable interpretation)

Crotchet & a-c1 in A (→FE→GE,EE)
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Same as in bar 2, in the previous manuscripts there is no  raising a to a, which is probably an oversight. Notwithstanding the issue of the , in this bar we have three versions of the accompaniment, out of which the first and third differ only in the rhythmic value of the bass note (which practically most probably means generally a change of the way of its prolongation – implicitly with pedal in As and hand in A). Therefore, we can speak here of Chopin's hesitation, who in AI, written between As and A, wrote a slightly different version.

category imprint: Differences between sources; Corrections & alterations

issues: Chopin's hesitations , Omission of current key accidentals

b. 18-21

composition: Op. 28 No. 3, Prelude in G major

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In FCI there is no  lowering f to f in b. 18; it is also absent in b. 19-22, in which the L.H. part is marked as a repetition of b. 18. Chopin's patent oversight is evidenced by the cautionary  before f in b. 23. This situation affects the evaluation of the notation of b. 16-17 – it is also there that we are almost certainly dealing with an oversight of naturals (in the R.H.).
See also b. 22.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals

b. 19

composition: WN 17, Polonaise in B♭ major

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In JC there is no  lowering a3 into a3, which is a patent error; in the copy there is also no relevant sign before a2. PE is also missing a flat before the latter, which can correspond to the notation of [A], as Chopin often extended the validity of cautionary accidentals onto entire passages or scales of this kind.

The same applies to bar 46, marked in the sources as a repetition of bar 19. 

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omission of current key accidentals , Errors of JC , Inaccuracies in PE