Issues : Errors in the number of ledger lines

b. 166-167

composition: Op. 2, Variations, complete

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In AsI both chords on the 2nd and 3rd quavers in b. 166 are written down in the treble clef, and in both Chopin wrote the bottom note under a ledger line. The mistake was committed in both versions of this bar as well as on the 2nd quaver in b. 167 in 1. volta. At the same time, in the notation of the first of the five discussed chords (2nd quaver in b. 166, 1. volta), there are only two ledger lines, hence the lowest note is g, whereas in the four remaining ones – three ledger lines, which results in e being the lowest note. In the remaining sources, the notation is correct (it concerns 2. volta only, since these sources do not contain a repetition of the second part of this variation). 

category imprint: Interpretations within context; Differences between sources

issues: Errors in the number of ledger lines

b. 176

composition: Op. 43, Tarantella

 
 
 
 
 
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In A and FC3 (→FEIE) the upper note of the chord on the second beat of LH is a1. It must have been Chopin's error as proven by  on this note in A, which has no justification before a1 and it was omitted in FC3 (→FEIE). The correct text (with f1) in EE must resulted from the editor's revision. However, it seems little probable in incorrect GE1 -    f1 may have been found already in [KF1]. Cf. next annotation.

A certainly long accent in A was copied wrongly - as a short one - in FC3 (→FEIE) and EE but omitted in GE. Cf. bars 164-178 .

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Errors of FC

b. 257

composition: Op. 2, Variations, complete

f3 in chord in AsI & A

d3 in Af, FE1 (→FE2) & GE2 (→GE3,FESB)

es3 in GE1 (→EE)

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The version of AsI and A with f3 as the topmost note of the chord on the 2nd beat of the bar is almost certainly erroneous, and it was d3 that was intended by Chopin from the very beginning. It is supported by:

  • d3 here in Af, written almost certainly earlier than A;
  • melodic analogy between the motifs at the beginning of bars 255 and 257 and the ascending sixths, d1-d3-b3 and f1-f2-d3, respectively;
  • d3 in FE1 (→FE2), which, with respect to the erroneous version of GE1 (see below), must have resulted from proofreading, most probably Chopinesque;
  • the natural character of the octave piano position.

What is more, the discussed note is written in A inaccurately, hence in GE1 (→EE) it was reproduced as e3. In GE2 (→GE3,FESB) it was changed to d3, which could have been one of the changes suggested by Chopin, if we were to assume that he took part in the editing of GE2.

category imprint: Differences between sources

issues: Terzverschreibung error , GE revisions , Errors in the number of ledger lines , Errors of A , Inaccurate note pitch in A , Authentic corrections of FE , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE

b. 296

composition: Op. 21, Concerto in F minor, Mvt III

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A has an aas the last note in the L.H. It is almost certainly a mistake – cf. analogous figures in bars 300, 302 and 304-306. Mistakes in the number of ledger lines are the most frequent pitch errors committed by Chopin (excluding those related to the notation of accidentals). GE (→FEEE) features the correct text, which can be ascribed to Chopin's proofreading or a fortunate mistake, since there are no visible traces of correction in print, whereas the note in A, despite three ledger lines, is written lower than the previous g1.
In the discussed place, there is a visible correction in A. The deletions are actually very precise, yet their placement allows us to indicate e1 and das possibly crossed out original (or only erroneous) last two notes.

category imprint: Interpretations within context; Differences between sources

issues: Errors resulting from corrections , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of GE