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Issues : Terzverschreibung error

b. 35

composition: Op. 25 No 1, Etude in A♭ major

g1 in AI, A (→CDP,GE), FE2 & EE

b1 in FE
..

The version of FE1 is certainly a mistake, corrected in FE2. Although in A one can see the identical correction – a deleted b1 and added g1 – yet a more profound analysis of the notation reveals that it is only the most visible part of a greater proofreading, including the last 5 semiquavers in the R.H., as Chopin wrote here the figure appearing at the end of bars 37 and 39 by mistake.

category imprint: Differences between sources

issues: Errors in FE , Terzverschreibung error , Errors of A , Deletions in A , FE revisions

b. 35

composition: Op. 22, Polonaise

c2 in FE (→GE)

a1 in EE
..

a1 in EE is most probably a mistake of the engraver of this edition.

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error

b. 36

composition: WN 55, Waltz in F minor

 
 
 
 
 
 
 
..

Particular versions differ both rhythmically and harmonically. Apart from FC (with dotted rhythm), the basis of these bars is a doubly dotted rhythm: with rests (in AO, AR, AE, CC, AG) or a tied note/consonance from the previous bar (in AK, F). The harmony in AG is different than in the remaining variants - it is based on a diminished four-note chord, contrary to the remaining versions, based on a C minor chord.
Chopin overlooked some single rests in the versions of AO, AR and AG (also →CY), which we add in the edition.
The c note on the 1st beat in the L.H. in CC may be considered a likely Terzverschreibung error - a copying inaccuracy - due to the lack of confirmation in other sources. Nevertheless, it does not interfere with the harmony in this bar, hence we present it as a separate variant. 

category imprint: Differences between sources; Editorial revisions

issues: Terzverschreibung error

b. 36

composition: Op. 10 No 10, Etude in A♭ major

d1 in A

f1 in FE (→GE,EE)
..

In the main text we give the unambiguous version of A, in which the entire 2nd half of the bar is marked as a repetition of the 1st one. The version is somewhat confirmed by an analogous figure in the melodically and harmonically similar bar 24. As far as the sound is concerned, the version of FE (→GE,EE) is perfect, so it could be a result of Chopin's proofreading, yet possible traces of performing this correction are questionable.

category imprint: Differences between sources

issues: Terzverschreibung error , Authentic corrections of FE

b. 37-38

composition: Op. 25 No 9, Etude in G♭ major

G1, d in GC & GE2

d-b, G in FE

G1, d in GE1

G1, d in GE3

B1, d in EE1

d-b, G in EE2

G1, d in EE3
..

In GC, the version beginning from G1 was written by Chopin instead of the original version of FE, beginning from the sixth. This undeniable improvement was also introduced in the base text to EE1, in which, however, it was reproduced inaccurately – both B1 at the beginning of the bar and the lack of tie sustaining d are most probably mistakes. In turn, EE1 includes a dot extending the des crotchet, overlooked in GC. This inaccuracy of the notation of GC was corrected only in GE3, which, thanks to this, is the only source in which the final version is written flawlessly.
The versions of EE2 and EE3 are a result of subsequent revisions – in EE2 it was the version of FE (only in the 1st half of bar 37) that was introduced, whereas in EE3 it was the final version that was reintroduced, yet in an inaccurately written form drawn from GE1.

category imprint: Differences between sources; Corrections & alterations

issues: EE revisions , Inaccuracies in GE , Errors in EE , Terzverschreibung error , GE revisions , Accompaniment changes , Authentic corrections in GC