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b. 6

composition: Op. 2, Variation IV, primitive version

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When writing the melody semiquavers without an octave sign, Chopin committed 14 mistakes in the entire variation, including 6 Terzverschreibung mistakes, which in this context consist in writing one ledger line too many. The list below shows the mistakes:

  • bar 6 – d4 instead of b3, d4 instead of c4, d4 instead of b3 (the first mistake was perhaps corrected by combining two ledger lines into one);
  • bar 7 – all 4 notes, c4 instead of a3, d4 instead of b3, f4 instead of c4, f4 instead of d4;
  • bar 9 – e4 instead of c4, e4 instead of f4;
  • bar 10 – d4 instead of c4;
  • bar 19 – b3 instead of c4;
  • bar 22 – b3 instead of c4;
  • bar 23 – b3 instead of a3, b3 instead of c4.

The letter names of notes written over the notes allow us to easily detect these mistakes.

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

issues: Terzverschreibung error , Errors in the number of ledger lines

b. 6-7

composition: Op. 49, Fantaisie in F minor

Slur & dot in A (→GE) & EE2

No markings in FE (→EE1)
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The missing articulation markings between the bars may be explained by an oversight by the copyist or by the engraver of FE or – which seems less likely in this case – by the markings having been added to A later. The fact that the marks were added by EE2 most probably resulted from using GE1 while revising.

category imprint: Differences between sources

issues: EE revisions

b. 6

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

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In A the arpeggio wavy line is on the right side of the chord, which almost certainly does not impact its meaning. In the editions it is in its common position. See I mov. of the Sonata, bar 202.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Inaccuracies in A

b. 6

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

A in A

A in GE (→FE,EE,IE)
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The version featuring A is absolutely possible, harmonically speaking; however, it seems much more likely that Chopin forgot to write a  (as in the previous bar). It is supported by the regular, chromatic bass sequence, contrasting with the chromatic sequence of the topmost R.H. notes (e-f-f-g); above all, it is supported by the flats in two analogous bars as this theme returns – bar 189 and 372. Considering the above analysis, in the main text we provide the version of the editions, featuring A.

category imprint: Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A

b. 6-8

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

Slurs to g1 in A, literal reading

Slurs to e1 in A (contextual interpretation→GE→FE,EE,IE)
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The range of the A slurs in bar 6 and 8 is unclear – the former, ending between g1 and e1, could be interpreted as a slur encompassing the entire L.H. passage, yet the latter clearly ends on g1. As there is no reason for the range of the slurs to differ, we consider slurs ending on g1 as the A text, since they are closer to the literal interpretation. On the other hand, in the main text we provide the interpretation adopted by the editions, certainly more justified, both musically and pianistically speaking.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccurate slurs in A , GE revisions