mUltimate Chopin

Text Compare Notes Sources Description

Issues : fz – f

b. 1

composition: Op. 10 No 12, Etude in C minor

in A

in FE (→GE,EE) 
..

The  indication in A is not legible enough and it could have been misunderstood by the engraver. In spite of this, in the main text we give  included in FE (→GE,EE), as the performance indications in FE were undoubtedly controlled by Chopin and even if he did not correct this indication, he certainly had an opportunity to accept it.

category imprint: Differences between sources

issues: Inaccuracies in FE , Authentic corrections of FE , fz – f

b. 1

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

 in AI

 in FE (→GE,EE)

 suggested by the editors
..

In the main text we suggest an indication composed of the elements whose authenticity seems to be most plausible:  written by Chopin's hand in AI and , which is a natural starting point for cresc. in FE (→GE,EE).

category imprint: Differences between sources

issues: Inaccuracies in FE , fz – f

b. 5

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

in GC (→GE) & EE2

in FE (→EE1)
..

The Chopin  was often misinterpreted by the engravers as  – cf., e.g., the Etude in C minor, Op. 10 No. 4, bar 1. Therefore, it is highly likely to assume that Gutmann reproduced Chopin's autograph correctly, whereas the engraver of FE – not. The inclusion of , valid already from the 2nd quaver, makes the difference between both indications purely theoretical.

 

category imprint: Differences between sources

issues: EE revisions , Inaccuracies in FE , fz – f

b. 5

composition: Op. 22, Polonaise

in FE (→GE)

in EE
..

 is probably a revision of EE – repetition of  could have seemed superfluous. There is also a possibility, although, according to us, highly unlikely, that this indication was initially also in FE, in which Chopin, however, changed it to  in the last stage of proofreading. After all, the composer's intention is not obvious here if we take into account the crescendi filling the following 6 bars. The orchestral voices also do not dissipate our doubts, since the cellos and double basses are provided with , yet violins and violas – with  (the remaining voices are devoid of dynamic markings here).

category imprint: Differences between sources

issues: EE revisions , fz – f

b. 9

composition: Op. 63 No. 1, Mazurka in B major

in AI

in FE (→GE,EE)
..

category imprint: Differences between sources; Corrections & alterations

issues: fz – f