mUltimate Chopin

Op. 43, Tarantella

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Page: 
Source: 
p. 2, b. 28-57
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
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Graphic ambiguousness
Interpretations within context
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Source & stylistic information
Notation
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Pitch
Rhythm
Slurs
Articulation, Accents, Hairpins
Verbal indications
Pedalling
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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
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Important
Main
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  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