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b. 138

composition: Op. 26 No 2, Polonaise in E♭ minor

..

As in bar 34, GE2 (→GE3→GE4) and EE2 added cautionary flats next to g in the L.H. and g1-g2 in the R.H.

category imprint: Differences between sources

issues: GE revisions

b. 138

composition: Op. 25 No 5, Etude in E minor

in FC (→GE) & FE

in EE
..

The corrections visible in FC in this and the previous bar – shift of  from bar 137 to bar 138 and addition of con forza – prove a possible addition of indications in all three Stichvorlage manuscripts by Chopin.  in EE can be authentic, although a possibility of a kind of mistake cannot be entirely excluded. 

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FC

b. 138-139

composition: Op. 64 No 2, Waltz in C♯ minor

Slur from 2nd quaver in A (→FE→EEW1→EEW2)

No slur in GE1op & GE1no2

Slur from 1st quaver in EEC, GE2op (→GE3op) & GE2no2
..

The absence of the slur in both versions of GE1 means that most probably it was originally absent in FE too, in which, however, it was added – probably by Chopin – in the last phase of proofreading. The slurs added in later GE, embracing two full bars, are a result of a revision, same as in bars 10-11. In turn, an earlier beginning of the slur in EEC may be simply an inaccuracy.

category imprint: Differences between sources; Corrections & alterations

issues: GE revisions , EE inaccuracies , Authentic corrections of FE

b. 138-139

composition: Op. 64 No 2, Waltz in C♯ minor

..

EEW1 and GE1no2 overlooked the  hairpin. It is probably an oversight (in the case of EEW1 almost certainly – the signs were overlooked also in bars 140-141 and 142-144). The signs were added in EEW2 and GE2no2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE , Errors in GE , GE revisions

b. 138

composition: Op. 21, Concerto in F minor, Mvt I

e2 repeated in A (→GE)

e2 tied in FE (→EE)
..

The tie of e2 was added by Chopin in the proofreading of FE (→EE) as one of the three additions in the 2nd half of the bar (cf. notes on pedalling and sempre legato). It is a characteristic Chopin pianistic procedure, ensuring strict legato of a melody led in chords (cf. e.g. the Polonaise in Amajor, Op. 53, bar 97). We suggest this change also in bar 286.  

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE