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b. 162-163
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composition: Op. 44, Polonaise in F♯ minor
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The slur of the majority of the sources was probably inaccurately written by Chopin in [A]. It could also be the initial version, left by inadvertence, changed in the remaining places at the time of writing [A]. Therefore, in the main text we suggest a longer slur, compliant with all analogous bars (142-143 and 201-202). The slurring of those places was similarly standardised in GE2. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 162-164
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composition: Op. 44, Polonaise in F♯ minor
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The pedal markings in b. 162 and 164 were probably introduced by Chopin into the basis for FE (→EE). In the former one can see in FE traces of the category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 162
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composition: Op. 23, Ballade in G minor
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The version of A is most probably a Terzverschreibung, which would often happen to Chopin with a larger number of ledger lines – cf., e.g. the Polonaise in C category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Terzverschreibung error , Errors in the number of ledger lines , Errors of A , Authentic corrections of FE |
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b. 162
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composition: Op. 23, Ballade in G minor
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The cautionary natural to a1 was added – perhaps by Chopin – in the stage of proofreading FE (→GE,EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 162
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composition: Op. 23, Ballade in G minor
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In A, the grace note is so close to the f4 quaver that the 8 digit opening the octave sign, although actually placed over f4, encompasses the grace note too. In spite of that, FE (→GE,EE) clearly excluded the grace note from the octave sign, which is, according to us, a mistake, since it constitutes a sonically unjustified complication. Such a problem with a grace note and an octave sign is also to be found in other pieces by Chopin, e.g. in the Sonata in B minor, Op. 58, 4th mov., b. 254 and 258, where it seems that the grace notes are not encompassed with the octave sign in both places, yet the pianistic context (and in b. 254 also the musical context) is an argument for inaccuracy of notation. category imprint: Graphic ambiguousness; Differences between sources issues: Inaccuracies in FE , Inaccuracies in A |
mark having been moved a beat earlier in print, while misplacing a mark is much more likely when reproducing a manuscript than an entry in a proof copy. The first 
mark is placed in 
minor, Op. 26 No. 1, 
3.
