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b. 6

composition: Op. 27 No 2, Nocturne in D♭ major

in A (→GE)

in FE (→EE)
..

Chopin introduced a number of changes when correcting FE, also in performance markings. Here, however, it is almost certain that the hairpin was accidentally reversed by the engraver.

category imprint: Differences between sources

issues: Inaccuracies in FE , Sign reversal

b. 6

composition: WN 55, Waltz in F minor

 
 
 
..

Three variants of the L.H. are possible:
- two crotchets with an F minor triad on the 2nd beat in AO, AK, AG (→CY)
- a tied f on the 1st beat to the value of minim in AE (→CX), CC and F
- a chord on the 2nd beat without c1 in AR

category imprint: Differences between sources

b. 6

composition: WN 55, Waltz in F minor

 
 
 
..

Almost all sources feature a crotchet rest on the 3rd beat in the L.H. It is only AK that has an a-c1 third - it repeats two elements of the previous chord. The authenticity of the version of F with the bass moving to A has to be considered dubious - it is most probably Fontana's revision, continued in the subsequent bars of F. 

category imprint: Differences between sources

b. 6

composition: Op. 43, Tarantella

A, FC3 (→FE→IE), EE, GE1 (→GE2)

GE3 (→GE4)
..

In GE3 ( →GE4) c1 was arbitrarily augmented to the length of a dotted crotchet. 

 

In # GE1 (→GE2→GE3) from unknown source there apears an unjustified cautionary  mark before g1.

 

Similar text variants appear in b. 14.

 

category imprint: Interpretations within context; Differences between sources

issues: GE revisions

b. 6-7

composition: Op. 43, Tarantella

..

In A and FC3 the second grouping of quavers in bars 6-7 is marked in short as repetition of the first group. Similarly in bars 14-15.

category imprint: Differences between sources; Source & stylistic information

issues: Abbreviated notation of A