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b. 155
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composition: Op. 44, Polonaise in F♯ minor
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In FE (→EE1) there are no cautionary accidentals before the 1st R.H. quaver. The inaccuracy was corrected in EE2 (→EE3). The accidentals are also present in GE. category imprint: Differences between sources issues: EE revisions , Inaccuracies in FE , EE inaccuracies |
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b. 155
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composition: Op. 23, Ballade in G minor
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In the entire descending passage, there is not a single accidental in A. FE added only a category imprint: Interpretations within context; Differences between sources issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE , Inaccuracies in A , Errors repeated in FE |
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b. 155
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composition: Op. 23, Ballade in G minor
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The typical long accent over the L.H. chord was reproduced by FE (→EE) as a short category imprint: Differences between sources issues: Long accents , Inaccuracies in GE , Inaccuracies in FE |
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b. 155
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composition: Op. 49, Fantaisie in F minor
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The staccato dot visible in A (→GE) could have been overlooked by the copyist in [FC] or by the engraver of FE. However, since in FE (→EE) the dot is also absent in analogous bar 235, it is more likely that Chopin added both dots to A after the copy, the basis for FE, had been finished. category imprint: Differences between sources |
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b. 155-156
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composition: Op. 49, Fantaisie in F minor
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As in bars 68-69, both the A version with three accents and the FE one with one accent are authentic, hence they can be regarded as equal. Contrary to the aforementioned bars, as well as to the third analogous place in bars 235-236, in this case the A accents do not seem long, and none of the editions reproduced them as such. According to us, however, it is highly unlikely that this difference could have stemmed from something other than the inaccuracies in the notation of the discussed bars. In the variant solution of the main text (due to the number of accents), we suggest long accents. category imprint: Differences between sources; Editorial revisions issues: Long accents , EE revisions |
to the 6th quaver (c
3); the fact that it was only the 1st octave of the passage that was proofread may indicate Chopin as the initiator of the procedure. 
in 
in the previous bar. In 
