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Issues : Inaccuracies in FE

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b. 7-8

composition: Op. 12, Variations in B♭ major

Slur to b. 8 in FE (→GE,EE), possible interpretation

Slur in b. 7, interpretation suggested by editors
..

The slurring in the sources is unclear – the slur at the end of the line (in bar 7) reaches only the last semiquaver, so it is not known what continues the slur reaching the g2 crotchet at the beginning of bar 8. In the editors' opinion, leading the slur to the crotchet in bar 8 is less natural due to the repeated striking of this note and the accent. Therefore, we consider it more likely that the slur in bar 8 was mistakenly engraved.

category imprint: Editorial revisions

issues: Inaccuracies in FE , Uncertain slur continuation

b. 8

composition: Op. 24 No. 1, Mazurka in G minor

Articulation in  A

GE1

FE (→EE)

GE2 (→GE3)
..

We give the precise notation of A, which later underwent gradual distortions in GE1 and FE (→EE): first  the omission of the dot and moving of the accent, then lowering of the curved line. As a result, in FE (→EE) the note a is sustained, which almost certainly goes against Chopin's intentions, as changes did not have the nature of corrections at any stage

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions

b. 8-22

composition: Op. 45, Prelude in C♯ minor

Rhythmic notation in FE1

FE2

GE

EE
 

Our suggestion
..

In the main text we unify the notation of the 2nd part of bars 8, 12 and 22 in line with the notation of FE1 in bar 8 and GE in bar 22 that is definitely correct and precise. 

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Inaccuracies in GE , Inaccuracies in FE

b. 8

composition: Op. 10 No 2, Etude in A minor

Long accent in Ap & FEcor

 &  in FE (→GE,EE) 
..

In the main text, according to the entries written by Chopin himself in FEcor and Ap, we give the long accent mark over the 2nd crotchet in the L.H. In FE (→GE,EE) it was given a form of a  hairpin on the 1st beat of the bar, which totally changed its meaning. In the next proofreading Chopin brought back the stress on the E-e octave by adding  this time. According to us, it was an ad hoc intervention, forced with an erroneous interpretation of the intended by Chopin accent's mark, which is more compatible with the whole of dynamic markings of the Etude (a comparison of Ap with the final version shows that while preparing the Etude for printing, Chopin made a careful selection of the marks; he would often discard  marks, among others; cf., e.g., bar 4).  

category imprint: Differences between sources

issues: Long accents , Inaccuracies in FE

b. 8

composition: Op. 10 No 11, Etude in E♭ major

 signs in A

 sign in FE (→EE)

No signs in GE
 
..

A includes two  marks, out of which only the 1st one was reproduced in FE (→EE). In GE there is however not a single one of them, which can indicate that even the one included in FE could have been initially overlooked and reintroduced by Chopin only during the last proofreading. In the main text we give both marks written in A, yet leaving the consideration of the second one, present only in the manuscript, at the performer's discretion.

category imprint: Differences between sources

issues: Inaccuracies in GE , Inaccuracies in FE , Authentic corrections of FE