Issues : Cautionary accidentals

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b. 238

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

..

In the main text we preserve the cautionary (?) , present in all sources, before aas a proof of the Chopin way of thinking. However, the reason for its introduction is unclear – Chopin may have simply followed an analogy with bars 230 and 236, in which the corresponding semiquaver is a g1, always written with a .  

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 238

composition: Op. 22, Polonaise

..

In the main text we omit the unnecessarily repeated  before f1 in the last L.H. chord.

category imprint: Editorial revisions

issues: Cautionary accidentals

b. 238

composition: (Op. 4), Sonata in C minor, Mvt IV

..

In A (→GEFE,EE,IE) Chopin wrote two cautionary flats in the R.H. part, to a2 and a3 (the 5th quaver). In the main text we also add a  to the L.H. part, which was also performed in GE (→FE,EE,IE); on the other hand, we omit the unnecessary accidental to the 5th quaver.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals

b. 240

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

..

In A (→GE), there is an unjustified cautionary  before d1. The sign was omitted in FE (→EE).
In the main text we add cautionary naturals before f1 and f2.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 240

composition: (Op. 4), Sonata in C minor, Mvt I

..

The deletions visible in A at the beginning of the bar reveal that Chopin initially wrote d1 as the bottom note of the 1st chord, accompanied by F (con 8) as the L.H. octave. Therefore, the  to the next d1 crotchet was most probably meant to cancel the alteration and not to perform the role of a cautionary accidental following d in the preceding bar.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Cautionary accidentals , Deletions in A , Enharmonic corrections