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b. 165

composition: Op. 44, Polonaise in F♯ minor

No markings in GE & EE2 (→EE3)

 in FE (→EE1), literal reading

  in FE, possible interpretation
..

The  mark in FE (→EE1) must be a mistake; however, it is unclear whether the pedalling was supposed to be indicated here but was implemented inaccurately or whether the mark was placed here by mistake. If the former were true, the position of the mark would require a correction, and a  would have to be added – Chopin could have meant here a short pedal, like the one in, e.g. b. 204. According to us, it is, however, the latter that is more likely, hence in the main text we follow GE and do not include this mark. A similar solution was also adopted by EE2 (→EE3).

category imprint: Differences between sources

issues: Inaccuracies in FE , No pedal release mark

b. 165

composition: Op. 23, Ballade in G minor

in A

No marking in FE1 (→GE)

Accent in FE2 (→EE)
..

The missing  mark in FE1 is most probably an oversight by the engraver. We assume that the accent added – most probably by Chopin – in the stage of proofreading FE2 expresses the composer's final intention; therefore, we give it in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 165-167

composition: Op. 2, Variations, complete

Repeat in AsI, contextual interpretation

No repeat in A (→GE→FE,EE,FESB)
..

In AsI there are two versions of b. 166-167, marked as 1. and 2. volta, which, in spite of the absence of repeat signs (including the opening one), implies that b. 152-167 are to be repeated. In A these bars are also repeated (the repetition is provided with appropriate repeat signs and with both versions of b. 166-167); however, Chopin removed the repetition in A by crossing out 1. volta and by erasing the 2. volta bracket (incidentally, the crossed-out 1st version is erroneously marked as 2. volta). We reproduce the notation of AsI only in the graphic transcription, whereas in the content transcription, taking advantage of the fact that b. 150-151 and 1. volta of b. 166-167 are identical, we put repeat signs before b. 150 and after b. 165, which allows us to keep the parallel course of the version of AsI and the remaining ones.

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

issues: Corrections in A , Errors of A , Deletions in A , Changed phrase length

b. 165

composition: Op. 2, Variations, complete

..

In AsI there are no accidentals before the last two demisemiquavers in the bar. Chopin's patent oversight was only partially corrected in A, in which naturals restoring c1 and c2 were added. The second pair of the overlooked accidentals was added only in FE.

category imprint: Interpretations within context; Differences between sources

b. 166

composition: Op. 39, Scherzo in C♯ minor

 
 
..

At the end of the bar GC (→GE) has the fifth E flat-B flat. The consistent version of EE and FE, both having the octave E flat-e flat here, indicates the copyist's error. The fact that Gutmann's attention was distracted is confirmed by his two other obvious mistakes in bars 166-167: inaccurate slur and omission of the octave sign. 

category imprint: Differences between sources

issues: Errors of GC