mUltimate Chopin

Text Compare Notes Sources Description

Issues : Enharmonic corrections

b. 47-49

composition: Op. 10 No 4, Etude in C♯ minor

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In AI Chopin wrote the 12th semiquaver in bars 47-48 (and in bar 49, marked as repetition of bar 48) as f1. In FE (→GE,EE) the note is written as g1, as a result of which the next note has to be provided with a .

category imprint: Differences between sources; Corrections & alterations

issues: Enharmonic corrections

b. 50

composition: Op. 10 No 4, Etude in C♯ minor

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In the last group of semiquavers, in the place where FE (→GE,EE) has a b1, in AI there is a c2. By introducing this clearly justified correction, Chopin did not check its result precisely – in FE (→GE1→GE1a,EE) there is no  before c2, still necessary despite the change of the previous note from c2 to  b1. This patent oversight was corrected in GE2 (→GE3→GE4→GE5).  

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Errors in FE , Omissions to cancel alteration , GE revisions , Enharmonic corrections

b. 54-56

composition: Op. 28 No. 17, Prelude in A♭ major

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In these bars the version of FCI clearly deviates from the final one – different harmonic rhythm in b. 54 and different shape of the melody in b. 55-56. We can also observe small changes to the arrangement of chords and enharmonic notation.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Accompaniment changes , Enharmonic corrections , Main-line changes

b. 57

composition: Op. 2, Variations, complete

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category imprint: Differences between sources; Corrections & alterations

issues: Enharmonic corrections

b. 58

composition: WN 17, Polonaise in B♭ major

d1 in JC & EF

c1 in PE
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Change of d1 into c1 is an undeniable improvement here, introduced into [A] (→PE).

category imprint: Differences between sources

issues: Enharmonic corrections