mUltimate Chopin

Op. 22, Andante spianato

Text Compare Notes Sources Description

Issues : GE revisions

b. 28

composition: Op. 22, Andante spianato

 to c3 in FE (→EE)

to end of bar in GE
..

The extension of the  hairpin in GE is probably a routine adjustment of a mark to the bar.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 34

composition: Op. 22, Andante spianato

..

In FE (→GE1) there is no  raising d3 to d3. That typical Chopinesque inaccuracy was almost certainly in [A]. The accidental was added in EE and GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

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

b. 35-36

composition: Op. 22, Andante spianato

dim. e rallent. in FE (→EE)

dimin. e rallent. in GE
..

The change of the layout of the two segments of the indication applied in GE was probably aimed at making the gaps between the words regular. However, the earlier appearance of the second segment may suggest an earlier beginning of rallentando, which was perhaps unintended by Chopin.

category imprint: Differences between sources

issues: GE revisions

b. 35

composition: Op. 22, Andante spianato

..

In FE (→GE1) there are no accidentals before the 9th R.H. semiquaver and the last L.H. semiquaver. These patent inaccuracies, almost certainly repeated after [A], were corrected in EE and GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

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

b. 36-37

composition: Op. 22, Andante spianato

   | in FE (→GE1)

    |  in EE

 | in GE2 (→GE3)

(|), our variant suggestion
..

The missing  at the end of b. 36 in FE (→GE1), although not confusing, seems to be an inaccuracy, so that GE2 (→GE3) added the mark. However, it is quite likely that it was the  mark in b. 37 that was unnecessarily placed by the engraver of FE. Chopin used a similar pedalling on a number of occasions, e.g. in the Nocturne in F Major, Op. 15 No. 1, b. 72-73, the Ballade in F Minor, Op. 52, b. 12-13, the Sonata in B Minor, Op. 58, III mov., b. 118-119. A version without a repeated  mark at the beginning of b. 37 is featured in EE, which, unless it is a mistake, may be a proof that it was added in the last phase of proofreading of FE. In effect, the source versions define two potentially authentic pedallings; therefore, in the main text we suggest a variant solution in which the optional pedal change at the beginning of b. 37 is left at the discretion of the performer. 

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in FE , Errors in EE , GE revisions , Authentic corrections of FE