mUltimate Chopin

Op. 22, Andante spianato

Text Compare Notes Sources Description

Issues : EE revisions

b. 74-86

composition: Op. 22, Andante spianato

3 shorter, 1 longer slur in FE

4 shorter slurs in GE

3 longer slurs, 1 shorter in EE

4 longer slurs suggested by the editors
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In b. 74, 75, 77 and 86 the slurs over the L.H. part in FE are thrice led to the last quaver (d1 or b) and only once – in b. 75 – to the crotchet ending the motif. According to us, it is probably an inaccuracy, and the slurs should always reach the last note, like in the R.H. In GE the slurs were unified by shortening the one in b. 75; it may be an inaccuracy. In turn, in EE the slur in b. 74 was extended (the range of the slur in b. 86 is vague).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE

b. 76

composition: Op. 22, Andante spianato

No slur in FE (→GE,EE1)

Slur in EE2

[Slur] suggested by the editors
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In the main text we suggest adding the slur after the authentic slur in analogous b. 88 (as well as in b. 73 and 85). The slur was also added in EE2. See also the next note.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions

b. 78-90

composition: Op. 22, Andante spianato

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In the main text we omit the cautionary  before f in b. 78, present in all sources, and add a  before c1. We also add a natural in analogous b. 90. Additions in b. 90 were also performed in EE, by adding a , and in GE3, by adding a .

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Cautionary accidentals , Last key signature sign

b. 79-91

composition: Op. 22, Andante spianato

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In the main text we add a cautionary  before e1 in b. 79. The accidental was already added in EE & GE3, also in analogous b. 91.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , GE revisions

b. 83-95

composition: Op. 22, Andante spianato

No marks in FE (→GE)

Accents in EE
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The accents added in EE in b. 83 and 95 may be considered justified: all the remaining, similar motifs (9) are accented, hence there is a possibility that the marks were overlooked. However, we do not suggest a corresponding addition in the main text, since both mentioned bars stand out due to the presence of a triplet on the 1st beat of the bar, which could have somehow changed the Chopinesque hearing of the energy of these bars. 

category imprint: Differences between sources

issues: EE revisions