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b. 148

composition: Op. 49, Fantaisie in F minor

..

On a similar principle as the one used in bar 144 and 146, in A and FE there is no  to g3 in the last triplet. The accidental was added by GE and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE

b. 148

composition: Op. 49, Fantaisie in F minor

d2(3) in A (→GE) & FE

d2(3) in EE
..

The reviser of EE took the  raising d1 to d1 in the preceding bar (added in FE and repeated by EE) at face value, which made him add naturals raising d2(3) to d2(3). Assuming that d1 is correct, it is naturally the right decision – the entire passage must be consistent and feature either d or d. This is one of the arguments against the authenticity and correctness of this d1 – whoever (Chopin or reviser) added the  in bar 147 in the belief that it changed the text would have also added  in the discussed bar as well, at least at the pitch of d2. On the other hand, an accidental in bar 147 only makes sense when it is a cautionary accidental, which points to a mistake by the reviser, described in the note concerning that bar.

category imprint: Differences between sources; Source & stylistic information

issues: EE revisions

b. 148

composition: Op. 12, Variations in B♭ major

d2 in FE, literal reading

d2 in FE, possible interpretation

c2 in GE & EE
..

The d2 note present in FE (or d2 , if we assume that Chopin could have forgotten to cancel the alteration, which was quite common) is most probably a mistake – cf. bar 172, which includes a variation of the discussed place, in which the final 4 semiquavers belong to an F chord. This is how it was assessed in GE and EE, changing d2 to c2 (in GE perhaps at Chopin's request), and this is the version we adopt to the main text.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , Authentic corrections of GE

b. 148-153

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

Slurs in A, literal reading

Slurs in A (contextual interpretation→GE→FE,EE,IE)
..

Pianistically and musically speaking, it is obvious what slurs should be used in bars 147-153, mostly build of three-note motifs; it is confirmed by the group of several dozen A slurs, undoubtedly encompassing entire motifs. Nevertheless, in A we can find a number of inaccuracies in the remaining figures:

  • overlooked slurs – in bar 148 the first one in the L.H., in bar 152 the second one in the R.H., in bar 153 all three (we discuss the issue concerning the slur over the octave sequence beginning at the end of this bar separately);
  • L.H. slurs encompassing two out of three quavers – at the end of bar 148 and 149 and in the middle of bar 151 and 152;
  • slurs concerning the entire motif yet too short on one or the other side and sometimes on both sides, e.g. the last L.H. slur in bar 152.

In the main text we standardise the slurs concerning these motifs in accordance with what was already carried out in GE (→FE,EE,IE).

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccurate slurs in A , GE revisions

b. 148-149

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

..

In A a few accidentals are missing to the notes that were already altered in other octaves – the flats to g1, g2, g in bar 148 and the naturals to A and a1 in bar 149. The accidentals were added in GE (→FE,EE,IE).
In the main text we omit the  to A at the beginning of bar 149, present in all sources. GE (→FE,EE,IE) also added a  to a.

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

issues: Accidentals in different octaves , GE revisions , Last key signature sign , Inaccuracies in A