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b. 141

composition: Op. 35, Sonata in B♭ minor, Mvt I

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GC and FE1 (→FE2→FE3) feature a g-f1 seventh as the 5th crotchet. The mistake was most probably in [A]; it was corrected in the proofreading of FE4. GE and EE also include the correct text.

category imprint: Differences between sources

issues: Errors in FE , Errors of A , Authentic corrections of FE

b. 141

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

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As in bar 37 A has no accidentals before the first quaver. The sharps necessary to indicate notes c, c1, c2 were not written by Chopin until the last semiquaver in the bar, and only in the R.H. The editions filled in the essential signs and GE2 (→GE3→GE4) and EE2 added an extra  before c at the end of the bar.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , GE revisions , Omission of current key accidentals , FE revisions

b. 141

composition: Op. 19, Bolero

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GE has a  before the last semiquaver in the L.H. This erroneous accidental was present also in FE, yet it was removed in the last phase of proofreading.

category imprint: Differences between sources

issues: FE revisions , Errors repeated in GE

b. 141

composition: Op. 19, Bolero

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In GE, there is no  returning e2 on the penultimate semiquaver in the R.H. The mistake was most probably also in FE, where it was corrected in the last phase of proofreading. Similarly, in bar 173.

category imprint: Differences between sources

issues: Omissions to cancel alteration , FE revisions , Errors repeated in GE

b. 141

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

Slur from c2 in A, literal reading

Slur from a2 in A, possible interpretation

Slur from b1 in GE (→FE→EE)
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The slur's starting moment raises doubts in the sources. Perhaps the slur of A, according to Chopin's intention, was to embrace only two notes of the top voice, which was so clearly marked in the recapitulation (bar 289). On the other hand, the slur of A, interpreted literally, as well as the version of the editions may also be considered an expression of the composer's intention:

  • a slur from c2 coincides with a shortened value of the preceding note in the top voice, b2, which was written as a quaver without a dot;
  • a slur from b1 also refers to the mentioned shortening of b2, yet it does not separate the b1-c2 motif, creating a pendant both to the earlier d2-e2 motif and to the ones in the top voice.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in GE , Inaccurate slurs in A