mUltimate Chopin

Op. 43, Tarantella

Text Compare Notes Sources Description
Page: 
Source: 
p. 2, b. 1-57
p. 1
p. 2, b. 1-57
p. 3, b. 58-91
p. 4, b. 92-130
p. 5, b. 131-195
p. 6, b. 196-235
p. 7, b. 236-270
p. 8
A - Autograph
Main text
A - Autograph
FC3 - Third Fontana's Copy
FE - French Edition
FE1 - First French edition
FED - Dubois copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - First English edition
IE - First Italian edition
Select notes: 
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
Differences
No differences
A - Autograph
FC3 - Third Fontana's Copy
FE - French Edition
FE1 - First French edition
FED - Dubois copy
GE - German Edition
GE1 - First German edition
GE2 - Second German edition
GE3 - Third German edition
GE4 - Fourth German edition
EE - First English edition
IE - First Italian edition
Importance
All
Important
Main
Undo Clear
Prezentacja
Select 
copy link PDF A - Autograph

  b. 41

A, FC3 (→FE→IE), EE, GE1 (→GE2→GE3)

More probable interpretation

Less probable interpretation

GE4

Given that there is g in the previous and next bar we may assume that the inner note of the chord in the second half of b. 25 per Chopin's intention was supposed to be g as well, and Chopin must have overseen . However, the version with g is no less satisfactory in musical terms, hence, assuming that Chopin's notation is correct we propose it for the main text.

See b. 25

Compare the passage in the sources »

category imprint: Interpretations within context; Differences between sources

issues: GE revisions, Omission of current key accidentals

notation: Pitch