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b. 7-13

composition: Op. 12, Variations in B♭ major

7 wedges in b. 7-13 in FE

7 dots in b. 7-13 in GE

6 wedges in b. 7-12 in EE
..

Two types of staccato markings, wedges and dots, present in FE (→EE), very typical of Chopin in that period, were reduced to dots in GE (in the entire Variations). According to us, it is unlikely that this change could have been encouraged by Chopin – it was rather the engraver: he made his task easier by using only one type of markings. Therefore, in the main text we keep the wedges present in FE; as the change concerns all wedges, we consider the GE dots together as one variant, on this page encompassing 7 marks in bars 7-8 and 11-13. The absence of the mark in bar 13 is most probably an oversight by the EE engraver.
See also bar 10 in which the FE wedges probably resulted from a misinterpretation of the Chopinesque manuscript.

category imprint: Differences between sources

issues: GE revisions , EE inaccuracies

b. 7

composition: (Op. 4), Sonata in C minor, Mvt I

No slur in sources

Slur suggested by the editors
..

Leaving the L.H. quaver motif without a slur seems to be Chopin's inadvertence, since the motif's structure and nature clearly refer to the Sonata's opening motif. Admittedly, similar figures are quite often provided with inconsistent slurs in the Sonata, yet in this case it is more likely that we are dealing with the composer's oversight, as evidenced by the slur in the analogous bar in the recapitulation (bar 185). Taking into account the above, in the main text we add a slur modelled after that bar.

category imprint: Editorial revisions

b. 7

composition: (Op. 4), Sonata in C minor, Mvt IV

f2, f1, f in A

f2, f1, f in GE (→FE,EE,IE)

f2 (), f1, f suggested by the editors
..

In the 2nd half of the bar A does not contain any accidentals; therefore, the 1st R.H. quaver is to be read as f2, the last one as f1, while the respective L.H. chord note as f. The sharps raising all those f notes to f present in GE (→FE,EE,IE) were arbitrarily added by the reviser of GE, who assumed that Chopin overlooked them. However, it does not seem possible at all, since this pattern appears two more times further on, in bar 190 and 373, always in the same form in A, without any accidentals. It is also worth emphasising that unlike in the previous two bars (see the notes on bars 5 and 6), in this case the oversight would not concern a cancelled alteration, which is one of the most frequent mistakes by Chopin, but the alteration itself, which was extremely rare. Therefore, in the main text we provide the version with f, as the only authentic one; we only add a cautionary  to the first of the discussed notes (f2).

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 7

composition: (Op. 4), Sonata in C minor, Mvt II

2  in A (→GE→FE,IE)

No markings in EE1

2  in EE2
..

The omission of both  marks is a mistake by the EE1 engraver, who committed several mistakes in this and the next three bars. In EE2  was added here, which Chopin used much less often. The same applies to bar 39.
See also the next note.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 7

composition: Op. 12, Variations in B♭ major

3 fingering digits in FE (→GE)

5 digits in EE
..

category imprint: Differences between sources

issues: EE revisions