mUltimate Chopin

Op. 19, Bolero

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. 143

composition: Op. 19, Bolero

g2 in FE (→EE)

f2 in GE
..

In the main text we give g2 present in the base source, i.e. FE (→EE). The authenticity of this version is supported both by source arguments – Chopin did not question this note both in the proofreading of FE and in any of the pupil's copies – and stylistic ones – cf. similar passages in other compositions by Chopin, e.g. in the Sonata in B minor, op. 58, 1st mov., bar 19. The f2 note was probably introduced in the proofreading of GE, replacing g2 of the version of FE; however, one does not know whether it was performed by Chopin. 

category imprint: Differences between sources

issues: Authentic corrections of GE

b. 143

composition: Op. 19, Bolero

..

In FE, there is a visible trace of removal of a superfluous cautionary  next to c1.

category imprint: Source & stylistic information

issues: FE revisions

b. 143-147

composition: Op. 19, Bolero

Fingering in FEO
 

No teaching fingering
 
..

In the main text, we give a fingering coming probably from Chopin, added in pencil in FEO under the last and first quavers in the L.H.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEO

b. 144

composition: Op. 19, Bolero

..

In EE3, a cautionary  next to G was added, poorly justified in this context.

category imprint: Differences between sources

issues: EE revisions

b. 146

composition: Op. 19, Bolero

 

a2 in GE & EE3
..

It is unclear how the difference between the variants of FE (→EE1→EE2) and GE occurred – there are no visible traces of corrections in both sources. Due to stylistic reasons, a possibility that Chopin replaced b2 present in FE with a2 seems to be less likely. The introduction of a2 mitigates – in the climax of the progression – both the melodic tension (fifth instead of sixth) and harmonic one (abandonment of dissonance). In turn, the reviser of EE3 undoubtedly wanted to change the note to a2, yet the engraver overlooked the  raising a2. 

category imprint: Interpretations within context; Differences between sources

issues: EE revisions