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b. 171
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composition: Op. 22, Polonaise
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Just like in b. 27, the missing category imprint: Differences between sources; Editorial revisions issues: Inaccuracies in FE , GE revisions |
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b. 171-172
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Without access to [AG], it is impossible to determine whether and which version Chopin considered to be final. The general concordance between AI and GE suggests that this version was created first; however, even if it was the case, it does not mean that an alternative idea – the version of AF – was already the final word, since there are numerous examples, supported by sources, of returns to original versions, which was poignantly described by George Sand. Therefore, having a choice between two equal authentic versions, in the main text we give the text of GE, which is the principal source adopted for the entire op. 50. category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes , Enharmonic corrections |
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b. 171
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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AI is lacking in the category imprint: Interpretations within context; Differences between sources |
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b. 171
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composition: Op. 23, Ballade in G minor
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Below you can find the original version of the accompaniment in the 2nd half of the bar: category imprint: Corrections & alterations; Source & stylistic information issues: Deletions in A , Authentic corrections of FE |
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b. 171
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composition: Op. 23, Ballade in G minor
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The version of A (→FE1) (→GE1→GE2 →EE1→EE2) was changed in FE2. The change was almost certainly performed at Chopin's request; however, it is unlikely that he would have wanted to leave d2 in the penultimate crotchet of the quintuplet – the aim of the correction was most probably a version analogous to b. 170. Therefore, it would be an example of an unfinished correction – the engraver was supposed to move d2 from the 4th crotchet to the 5th; he inserted it in a new place, but did not remove it from the former. Such mistakes are very frequent, e.g. in the Ballade in F, Op. 38, b. 179, the Scherzo in B minor, Op. 20, b. 135 and 292 or the Polonaise in A, Op. 40 No. 1, b. 93). Therefore, in the main text we suggest a respectively modified version of FE2, most probably intended by Chopin. Versions of the remaining sources are arbitrary attempts to partially or completely unify the respective fragments of b. 170 and 171. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , Errors in EE , Errors in GE , GE revisions , Authentic corrections of FE |
on 2nd beat in 
a2 in 
1 to d1. We regard it as the composer's oversight – after two multiple progressions, in which the 1st note of the bar is a fourth higher than the preceding one, Chopin could have considered d1 to be obvious here.
. This version is present in 
2-b
