mUltimate Chopin

Op. 42, Waltz in A♭ major

Text Compare Notes Sources Description
Select: 
Category
All
Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Notation
All
Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
Fingering
Ornaments
Shorthand & other
Importance
All
Important
Main
Undo Clear

b. 236

composition: Op. 42, Waltz in A♭ major

Crotchet in EE, possible interpretation of FE0 (→FE)

Quaver in GE—another interpretation of FE0 (→FEG)
..

In FE (→FEG) the 3rd chord in the L.H. is a crotchet, in spite of the fact that it is followed by a quaver rest. This patent error can be interpreted in two ways: 

  • the engraver inserted the rest by mistake instead of the bass clef (see also: the adjacent note);
  • the engraver could have overlooked both the stem of the quaver and the change of the clef.

As the L.H. has crotchets in similar situations in the Waltz, we consider the first possibility to be more plausible. 

category imprint: Graphic ambiguousness

issues: Errors in FE , Errors in GE

b. 237

composition: Op. 42, Waltz in A♭ major

..

In FE0 (→FE,FEG→GE1) the change of the clef was overlooked. It is possible that the engraver wrote here a quaver rest by mistake instead of the required bass clef, as in FE the 3rd chord in the L.H. is a crotchet (see: the previous note). The clef was introduced already in GE2 (→GE3), EE also has the correct notation.

category imprint: Differences between sources

issues: Errors in FE , Errors in GE

b. 237

composition: Op. 42, Waltz in A♭ major

 in EE, contextual interpretation of FEG

 in FE1

No marking in FE0 (→GE)
..

It is not clear what Chopin wanted to underline with the  mark: a sudden change of the chord at the beginning of the bar or the signal chord motif after the rest. The first possibility is suggested by the composer's entry in FEG (which was, after all, not included in GE) and the notation of EE, while the second one – by the notation of FE. It must be emphasised that even the fact of writing this mark under the rests, as it is in FE, does not exclude its validity from the beginning of the bar (possible examples of using such a manner – the Etude in C major, Op. 10 No. 1, bar 45 or in G, Op. 10 No. 5, bars 34-35).  

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

issues: Errors in GE , Authentic corrections of FE , Authentic corrections of GE , Centrally placed marks , Authentic corrections of EE

b. 237-239

composition: Op. 42, Waltz in A♭ major

Slur in FE & EE
 
..

The slur over the R.H. was most probably added by Chopin in the base texts to FE and EE.

category imprint: Differences between sources

issues: Authentic corrections of FE , Authentic corrections of EE

b. 237

composition: Op. 42, Waltz in A♭ major

Semiquaver in FE & GE

Quaver in EE
..

The version of EE was most probably introduced by Chopin in the base text to this edition. However, an error of the engraver or a revision of the reviser cannot be entirely excluded. Due to this fact, in the main text we give the version of FE0 (→FE,GE), drawn certainly from [A].

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of EE