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b. 119-121

composition: Op. 44, Polonaise in F♯ minor

Short accents in GE

Different accents in FE

Short accents in EE
..

In the main text we suggest accents as written down in EE. This solution combines the most certain elements of the versions of GE1 and FE:

  • short accents after GE, since in FE each mark is of a different length – short, short/long, long, respectively – which cannot correspond to Chopin's intention;
  • accents under the R.H. octaves as in FE, for reasons of consistency – in GE the remaining bars in this section (b. 111-124) do not contain any accents at all. The position of the accents in GE could have resulted from a routine revision of the engraver – in one-part notation, the marks are generally placed on the side of noteheads.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , Inaccuracies in FE , Placement of markings

b. 119-122

composition: Op. 44, Polonaise in F♯ minor

..

In the main text we do not include the cautionary naturals present in FE (→EE) next to certain F and f quavers, since we are convinced that the F1-F octave at the beginning of each of the discussed bars dissipates any doubts as to the sound of those notes.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals

b. 119

composition: Op. 23, Ballade in G minor

..

In the main text, we add a cautionary  over the mordent. Interestingly enough, in many later editions of the Ballade, the editors added a  here. However, in spite of the fact that the key prevailing in the previous fragment is A major, which would suggest g2, nothing points to Chopin's oversight. Bars 118-119 are based on an F7 chord, considered the dominant to B minor, which is supported by the use of a d2-d3 octave in the following sequence of octaves. In the context of the B minor key, a mordent featuring g2 is the natural choice. In addition, in bar 121, which is a sequential repetition of b. 119, based on a G7 chord as the dominant to C minor, a g1-g2-a2-g2 figure appears. It contains a mordent on g2, played on the beat, with an a2 minor second, corresponding to the g2 minor second in b. 119.

category imprint: Interpretations within context; Editorial revisions

b. 119

composition: Op. 23, Ballade in G minor

in A

No marking in FE (→GE,EE)

() suggested by the editors
..

According to us, it is highly likely that  was accidentally overlooked by the engraver of FE (→GE,EE). If we were to look at the elements closest to the E1-E octave, the mark could have been easily taken for, e.g. a pedal release mark. On the other hand, Chopin proofread the Ballade quite exactly, hence in the majority of the situations it can be considered that the text of FE was accepted. Therefore, in the main text we suggest a variant solution.

category imprint: Differences between sources

issues: Errors in FE

b. 119

composition: Op. 2, Variations, complete

..

There is only one  before the chord at the beginning of the 2nd half of the bar in AsI and A, a  to the bottom note (the b2 semiquaver). What is more, in A the accidental was written inaccurately, above the semiquaver, as a result of which GE1 assigned it to d3. Both missing naturals were added in the stage of proofreading of that edition. Chopin's patent oversight was corrected right away in GE1, hence all editions contain the right text (the fact that the  to d3 was printed first is evidenced by the arrangement of the naturals and by the slight difference in size between the  of d3 and the two remaining ones). 

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , GE revisions , Errors of A , Accidental below/above the note , Inaccuracies in A