mUltimate Chopin

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Issues : Errors resulting from corrections

b. 40-41

composition: Op. 38, Ballade in F major

 in A

 in GC (→GE)

No sign in FE

 in EE
..

Both the omission of the  sign in FE and its slight extension in GC (→GE) are undoubtedly of an accidental nature. However, the shorter hairpins in EE may be a result of the interpretation of the notation of A – Chopin would extend the initially written long accent and the result of these corrections is not entirely clear, as a part of the sign in bar 41 has the form of a single horizontal line. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Errors in FE , Corrections in A , Errors resulting from corrections , EE inaccuracies , Inaccuracies in GC

b. 40

composition: Op. 38, Ballade in F major

Two slurs in A (probable interpretation→EE)

One slur in A (possible interpretation→FE,GC→GE)
..

Originally, a new slur started in A over the quaver F. Chopin later corrected slurring there but the result of the changes is not quite clear—EE read the correction as changing the place of division, while #CG (→GE) and FE as linking slurs. In the editors opinion both interpretations are justified:

  • an added fragment of line starting over the sharp, and suggesting a beginning of a new slur indicates that a broken slur was intended; such a slurring is in keeping with the R.H. phrasing and the analogous bar 38;
  • leaving the slur between F and F not deleted, and the way the preceding slur is prolonged speak for a continuous slur; this would reflect the maintaining of the hand's position.

We regard the former of the above interpretations as more likely, and give this version in the main text.

category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations

issues: Inaccurate slurs in A , Errors resulting from corrections

b. 40-41

composition: Op. 2, Variations, complete

No markings in A (→GE→FE), contextual interpretation

    in EE
..

In addition to the  mark at the end of b. 39, A (→GE→FE,EE) includes the same mark also before the 1st chord in b. 41. A more detailed analysis of A reveals that in the middle of b. 40 there were initially  marks, eventually erased and most probably replaced with the first  mark. Therefore, it seems that Chopin initially wrote two pedals in b. 39-40, one from the 2nd beat of b. 39 to the middle of b. 40 and another encompassing the 2nd half of b. 41 (to the preserved  mark) before shortening the first pedal and removing the second, inadvertently leaving the asterisk at the beginning of b. 41. EE added the allegedly overlooked  mark yet without taking into account the change of chord in the middle of the bar; this pedalling cannot come from Chopin.

category imprint: Editorial revisions; Corrections & alterations

issues: EE revisions , Corrections in A , Errors resulting from corrections , Errors of A

b. 43-46

composition: Op. 25 No 1, Etude in A♭ major

Three slurs in AI (literal reading in bars 44-46)

Two slurs in AI (contextual interpretation), A (→GE) & EE

One slur in FE
..

In bar 43 the slurs of AI and A are certainly inaccurate – the shortening is related to the use of •/• signs in AI and the correction-deletion in A.

The slurs over the passages in bars 44-47 appear in AI only at the beginning and end of this section. Both slurs appear to be fragmentary, so it seems that Chopin marked the beginning and the end of one slur in such a way. The reason for this incomplete notation could have been the octave sign, impeding a clear introduction of the middle part of the slur (a similar situation is to be found in the Etude in E major, Op. 10 No. 11, bars 40-42). The issue of the slur's ending in bar 47 is discussed separately.

The authenticity of the unbroken slur of FE seems to be highly unlikely. Lack of division is probably a result of misunderstanding at the time of reading the slurs of the handwritten base text.

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

issues: Inaccurate slurs in A , Errors resulting from corrections

b. 43

composition: Op. 25 No 11, Etude in A minor

g2-b2 in GC (→GE) & EE

b1-g2-b2 in FE
..

The three-note chord in FE is the original version, which is proved by the visible deletion of the b1 note in GC. At the time of introducing this correction, Chopin did not check the notation of the accidentals – the  overlooked on the 2nd beat of the bar was added only in GE.

category imprint: Differences between sources; Corrections & alterations

issues: Errors resulting from corrections , GE revisions , Authentic corrections in GC