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Issues : Inaccuracies in A

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b. 16

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

Crotchet b in A (literal reading→GE→FE,EE,IE)

Quaver b in A, contextual interpretation
..

In A b, the top note of the tenth on the 5th quaver, is not attached to the G quaver, as a result of which it seems that it is separated from the quaver figuration and that it is a crotchet. This is how it was reproduced in GE (→FE,EE,IE). According to us, it is a misunderstanding – cf., e.g. the similarly inaccurately written R.H. sixths in bar 13.
The same applies to bar 34.

category imprint: Graphic ambiguousness; Editorial revisions

issues: Inaccuracies in A

b. 17

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

..

In A (→GE) Chopin overlooked the  returning b2 in the last crotchet in the bar. The addition of the sign in FE (→EE) may be assigned both to Chopin and a revision of the editor.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Authentic corrections of FE , Inaccuracies in A

b. 17-23

composition: Op. 50 No. 3, Mazurka in C♯ minor

4 staccato dots in AI

Dots in bar 17, 19 & 21 in AF

Dot in bar 19 in FE

Dots in bars 19, 21 & 23

No marks in EE
..

In the majority of the sources it is only some of the staccato dots that are present at the beginning of b. 17, 19, 21 and 23. All four dots are written – paradoxically – only in AI. This is the version we give in the main text, since nothing indicates that it could have been something other than mistakes and inaccuracies of the engravers or of Chopin himself that contributed to the creation of the other versions. It is particularly the missing mark in AF in b. 23 that could have been provoked by corrections to the layout in b. 21-23 – from the 2nd beat of b. 21 on, Chopin moved all the a notes from the bottom to the top stave (in GE the note in b. 23 is on the bottom stave and is provided with a dot). Staccato marks in all four places are present in AF in analogous b. 109-115.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Errors in FE , Corrections in A , Deletions in A , Inaccuracies in A

b. 17

composition: Op. 28 No. 5, Prelude in D major

 in A, contextual interpretation

  in A (literal reading→FC,FE→EE)

 in GE
..

It is uncertain whether the  mark concerns the third or fourth semiquaver in A – the mark begins under the third and ends under the fifth semiquaver. A comparison with analog. b. 1 suggests the 3rd semiquaver, from which the broken A9 chord starts, and this is the version we suggest in the main text. The version of the remaining sources – except for GE, in which the preceding  mark was placed after the 3rd semiquaver – can be considered an equal variant.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccuracies in A

b. 17

composition: Op. 28 No. 24, Prelude in D minor

..

In A there are no naturals raising b to b and B to B. The accidentals were added both in FC (→GE) and FE (→EE).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omission of current key accidentals , FE revisions , Fontana's revisions , Inaccuracies in A