mUltimate Chopin

Op. 43, Tarantella

Text Compare Notes Sources Description
Page: 
Source: 
p. 6, b. 148-178
p. 1, b. 1-27
p. 2, b. 28-57
p. 3, b. 58-87
p. 4, b. 88-117
p. 5, b. 118-147
p. 6, b. 148-178
p. 7, b. 179-208
p. 8, b. 209-239
p. 9, b. 240-270
Main text
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 Main text

  b. 157

 

 

In A the c1-e1 third at the beginning of b.153 (and 161, marked as repeat) is not dotted. The corresponding b. 149 (157) is indecipherable in the charred manuscript; there is no legitimate reason to differentiate them. The augmentation dots in place in FC3 (→FE→IE), GE and EE may well have been added by the copyist, who must have assumed the Chopin had omitted them (as in A Chopin indeed had a few of omissions). 

See b. 149

Compare the passage in the sources»

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues:

notation: Rhythm