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Issues : Last key signature sign

b. 43

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

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A (→GE) has a cautionary  before d3. The sign was removed – perhaps by Chopin – in the proofreading of FE (→EE1) and restored in EE2 (→EE3). Cf. similar contexts in bar 39 and 383 as well as 387.

category imprint: Editorial revisions

issues: EE revisions , Cautionary accidentals , Authentic corrections of FE , Last key signature sign

b. 43-44

composition: Op. 2, Variations, complete

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As in b. 35-36 and 39-40, in the manuscripts Chopin overlooked some of the necessary accidentals, in this case only flats. AsI lacks a  to the 14th semiquaver in b. 43 (g2) and to the 10th semiquaver in b. 44 (g), and A lacks a  to the 14th semiquaver in b. 43 (g2) and flats to the 8th and 20th semiquavers in b. 44 (g1 and g). All omitted accidentals were already added in GE1, which was repeated in the remaining editions. In the main text, we omit the unnecessary repetition.
In the AsI notation, attention is drawn to the unnecessary repetitions of flats before g3 in bar 43 (as in A) and g1 in bar 44, as well as 3 flats (cautionary?) before e3 in bar 43 and e2 and RH. e in bar 44.

category imprint: Interpretations within context; Differences between sources; Source & stylistic information

issues: Accidentals in different octaves , GE revisions , Cautionary accidentals , Last key signature sign , Inaccuracies in A

b. 44

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

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In FE, there is no accidental before the topmost note of the 2nd chord. This patent mistake – see the chord in the L.H. on the 4th quaver – was corrected both in GE and EE. A sharp was added also in FES.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , GE revisions , Omission of current key accidentals , Annotations in FES , Last key signature sign

b. 45-61

composition: Op. 64 No 2, Waltz in C♯ minor

a-d1 on 2nd beat in As, contextual interpretation

f-a-d1 on 2nd beat in AI, contextual interpretation

a-d1 on 3rd beat in A & GE

a-d1-a1 on 3rd beat in FE (→EE)
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The crotchet specifying the sound of the Neapolitan chord in bars 45 and 61 underwent a several-stage-long evolution from As to the corrected version of FE (→EE). Both the content of the chord (dyad) and the moment of its strike was changed. In the main text, we give the latest version, introduced in the last phase of proofreading of FE. The version of As is not unequivocal – we assume that there is no f note there, which ensures a possibility of choice of any of the undoubtedly or potentially authentic source versions.

The naturals lowering d1 to d1 are present only in the editions (we give a sign of an unknown origin made in pencil in AI in brackets), yet the part of the R.H. does not leave any doubt as to the use of the Neapolitan chord.

Similarly in bars 109 and 125, see also bars 173 and 189.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations

issues: Omission of current key accidentals , Authentic corrections of FE , Last key signature sign , Inaccuracies in A

b. 45-62

composition: Op. 64 No 2, Waltz in C♯ minor

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In As there are no naturals before d2, g2 and d3 in bars 45-46. In spite of the fact that in the L.H. there is no  before d1 as well, the pitch of these notes, intended by Chopin, compatible with later sources (which include naturals) can be deduced from the notation – the presence of sharps before g2 (bar 46) and d3 (bar 47) proves that:

  • the previous notes are g2 and d3 respectively;
  • Chopin considered here the sound of g2 and d3 to be more obvious than g2 and d3, which leads to the conclusion that in bar 45 he had to hear d1 and d2.

Similarly in bars 61-62, being in As a repetition, not written out, of bars 45-46.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals , Last key signature sign