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Issues : FE revisions

b. 12

composition: Op. 35, Sonata in B♭ minor, Mvt IV

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In GC (→GE) and FE1 (→FE2→EE1) there are no naturals raising the 10th quaver to d1(2), which in this context is a patent oversight. The sign in the R.H. was added in the proofreading of FE3 (→FE4,FE5), whereas in FE5 a  was added also in the L.H. A natural in the part of the R.H. is also in Afin, in which, due to the abbreviated way of notation of the L.H., it refers to both hands.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE , Omission of current key accidentals , Authentic corrections of FE , FE revisions , Inaccuracies in GC , Inaccuracies in A

b. 12

composition: Op. 11, Concerto in E minor, Mvt I

Slur in Atut

Slur in FE (→GE,EE)
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Both endings of the carelessly written slur in Atut fall between notes – we interpret them as "embracing," hence concerning only these notes that are actually under the slur. In the main text, however, we adopt the version of FE (→GE,EE), which is uncontroversial, as far as the musical and graphic issues are concerned, and which can also be considered an interpretation of the slur of Atut.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , FE revisions

b. 12-36

composition: Op. 50 No. 1, Mazurka in G major

Minim in Afrag, A1 & GE

Dotted minim in FE (→EE)
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According to us, prolonging the b minim with a dot in b. 12 and 36 is not musically justified due to the transfer of that element an octave higher in the last chord and due to the absence of a direct continuation of the tenor sound plane. It is most probably a revision provoked by the two-part notation of the G-b tenth in A1 (→FE→EE), which makes an impression of being metrically incomplete (in GE Chopin already used the one-part notation to write the tenth). Similar differences also appear in analogous b. 68.

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 12-20

composition: Op. 50 No. 2, Mazurka in A♭ major

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The cautionary flats before a1 in b. 12 and 20 were added in the first phase of proofreading of FE (→EE). It is unclear whether Chopin was responsible for the entire process of that phase of proofreading.

category imprint: Differences between sources

issues: Cautionary accidentals , FE revisions

b. 12-14

composition: Op. 28 No. 6, Prelude in B minor

No accidentals in A (→FC→GE1)

Naturals in FE (→EE), GE2 (→GE3) & CGS
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The version of A (→FC→GE1), in which these three bars are based on the c-e-g diminished chord, most probably resulted from an oversight of the naturals lowering c to c (in various octaves) by Chopin. The correctness of the version of FE (→EE) is mainly evidenced by three teaching copies bearing clear traces of having been developed with Chopin, in which the C major chord as the harmonic basis of those bars was not questioned; it is also evidenced by CGS, which was written by a person who was both close to Chopin and a witness to the creative process of the cycle of Preludes. The naturals visible in FC are an addition by H. Scholtz, coming from the 1870s. The change introduced in GE2 could have been drawn from FE or a result of an accurate analysis of the harmonic structure of the piece by the reviser.

category imprint: Differences between sources

issues: GE revisions , Foreign hand additions in manuscripts , Omission of current key accidentals , Errors of A , FE revisions , Last key signature sign