mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors repeated in EE

b. 1

composition: Op. 21, Concerto in F minor, Mvt I

in A

in GE (→FE→EE)
..

Change of the time signature from  to  is one of the most characteristic inaccuracies of first editions of Chopin's works – see e.g. the Sonata in B minor, Op. 35, 1st mov., bar 1.

category imprint: Differences between sources

issues: Errors in GE , 4/4 or 2/2 , Errors repeated in FE , Errors repeated in EE

b. 1-4

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In the figurations featuring the interval of an octave, Chopin would often be satisfied with an accidental placed only next to the first note constituting that interval (cf., e.g. the Etude in A Major, Op. 10 No. 10, b. 5-8 or the Ballade in F Major, Op. 38, b. 48). In the Prelude in F Minor, such an extended validity of accidentals is a strictly observed rule – accidentals are absent even in the places where they are necessary to cancel the previous alteration (e.g. on the 2nd demisemiquaver on the 3rd beat of b. 4), while in b. 8 Chopin actually crossed out the necessary accidental next to the 2nd demisemiquaver in the 3rd figure. In the discussed bars, apart from the situation in b. 4 mentioned above, the problem concerns the 8th demisemiquaver in the 3rd group in b. 1-2 and 4, the 8th demisemiquaver in the 1st, 2nd and 4th groups in b. 3 and the 2nd demisemiquaver on the 3rd beat of b. 3. Such a notation is to be found in A (→FC,FE→EE1), whereas EE2, GE1 and GE2 added the majority of the necessary accidentals (5, 6 and 7 out of the eight necessary, respectively).
The L.H. quavers falling an octave lower than the first semiquaver of a given figure provided with an accidental are written down in a similar way, without the necessary accidentals – see b. 3-4.  

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 4

composition: Op. 28 No. 14, Prelude in E♭ minor

..

The 4th L.H. quaver is written in A slightly to low, so as to be reproduced in FE (→EE1) as d (in spite of a distinct e1 in the R.H.). EE2 corrected the error.

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

issues: EE revisions , Errors in FE , Inaccurate note pitch in A , Errors repeated in EE

b. 5-13

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In this Prelude Chopin generally did not use accidentals before the top notes in broken octaves – see b. 1-4. In the discussed bars, the problem concerns the following cases:

  • in b. 5 e2,
  • in b. 7 d3 and d3,
  • in b. 8 c3, c3 and b2,
  • in b. 9 b2, b2, a2, g2 and c3,
  • in b. 10, c3, c3, b2 and a2,
  • in b. 11 c3 and b2,
  • in b. 12 g2, f2 and g2,
  • in b. 13 g2, f2 and c2.

Such a notation is in A (→FC,FE), whereas EE1, EE2, GE1 and GE2 added the majority of the necessary accidentals (17, 20, 21 and 22 out of the necessary 23, respectively).

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 5

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

e1-g1 third in AI

Only g1 in FE (→GE,EE)

Our variant suggestion
..

The missing e1 note in the R.H. in FE (→GE,EE) seems to be an oversight by the engraver, since analogous motifs are generally led in thirds.

category imprint: Differences between sources

issues: Errors in FE , Errors repeated in GE , Errors repeated in EE