mUltimate Chopin

Page:

Source:

p. 1, b. 1-32

p. 2, b. 33-69

p. 3, b. 70-92

p. 4, b. 93-112

p. 5, b. 113-136

p. 6, b. 137-170

p. 7, b. 171-195

p. 8, b. 196-220

p. 9, b. 221-240

p. 10, b. 241-260

p. 11, b. 261-280

p. 12, b. 281-308

p. 13, b. 309-334

p. 14, b. 335-366

p. 15, b. 367-398

p. 16, b. 399-424

p. 17, b. 425-445

p. 18, b. 446-466

p. 19, b. 467-487

p. 20, b. 488-514

Main text

½A - Semi-autograph

A - Autograph of the piano part

Morch - Manuscript of the orchestra part

GE - German edition

GE1 - First German edition

GE1a - Retouched impression of GE1

GE2 - Second German edition

FE - French edition

FE1 - First French edition

FE2 - Corrected impression of FE1

FED - Dubois copy

FEJ - Jędrzejewicz copy

FES - Stirling copy

EE - English edition

EE1 - First English edition

EE2 - Revised impression of EE1

EE3 - Corrected impression of EE2

Select notes:

mark annotations

Category

Notation

Differences

No differences

½A - Semi-autograph

A - Autograph of the piano part

Morch - Manuscript of the orchestra part

GE - German edition

GE1 - First German edition

GE1a - Retouched impression of GE1

GE2 - Second German edition

FE - French edition

FE1 - First French edition

FE2 - Corrected impression of FE1

FED - Dubois copy

FEJ - Jędrzejewicz copy

FES - Stirling copy

EE - English edition

EE1 - First English edition

EE2 - Revised impression of EE1

EE3 - Corrected impression of EE2

Importance

Undo Clear

transcript

Prezentacja

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b. 27

Rhythmic notation used by Chopin can be understood in two ways:
or .
In practice the most important is a smooth rendition of thematic bottom voice. Similarly in bar 334.

Compare the passage in the sources»

category imprint: Interpretations within context; Source & stylistic information

issues:

notation: Pitch

Missing markers on sources: A, Morch, GE1, GE1a, GE2, FE1, FE2, FED, FEJ, FES, EE1, EE2, EE3

Complete ➔

Op. 21, Concerto in F minor, Mvt III