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b. 165

composition: Op. 23, Ballade in G minor

in A

No marking in FE1 (→GE)

Accent in FE2 (→EE)
..

The missing  mark in FE1 is most probably an oversight by the engraver. We assume that the accent added – most probably by Chopin – in the stage of proofreading FE2 expresses the composer's final intention; therefore, we give it in the main text.

category imprint: Differences between sources; Corrections & alterations

issues: Authentic corrections of FE

b. 165-167

composition: Op. 2, Variations, complete

Repeat in AsI, contextual interpretation

No repeat in A (→GE→FE,EE,FESB)
..

In AsI there are two versions of b. 166-167, marked as 1. and 2. volta, which, in spite of the absence of repeat signs (including the opening one), implies that b. 152-167 are to be repeated. In A these bars are also repeated (the repetition is provided with appropriate repeat signs and with both versions of b. 166-167); however, Chopin removed the repetition in A by crossing out 1. volta and by erasing the 2. volta bracket (incidentally, the crossed-out 1st version is erroneously marked as 2. volta). We reproduce the notation of AsI only in the graphic transcription, whereas in the content transcription, taking advantage of the fact that b. 150-151 and 1. volta of b. 166-167 are identical, we put repeat signs before b. 150 and after b. 165, which allows us to keep the parallel course of the version of AsI and the remaining ones.

category imprint: Differences between sources; Editorial revisions; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors of A , Deletions in A , Changed phrase length

b. 165

composition: Op. 2, Variations, complete

..

In AsI there are no accidentals before the last two demisemiquavers in the bar. Chopin's patent oversight was only partially corrected in A, in which naturals restoring c1 and c2 were added. The second pair of the overlooked accidentals was added only in FE.

category imprint: Interpretations within context; Differences between sources

b. 165

composition: Op. 49, Fantaisie in F minor

Quaver a2 together with c3 in A & FE

Semiquaver a2 together with c3 in EE

Quaver a2 before c3 in GE
..

As in bars 78-82, the notation of the R.H. bottom voice quavers at the end of the bar (also in bar 167 and 169) is an arbitrary revision by GE, contrary to the A notation and the resulting performance.

category imprint: Differences between sources

issues: GE revisions

b. 165

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

No markings in A

Dots under slur in GE (→FE,EE,IE)
..

In GE (→FE,EE,IE) the slur and the dots were most probably added by analogy with the preceding bar, although it would be more reasonable to follow bar 163. Anyway, the indicated articulation most probably corresponds to the one intended by Chopin, hence this version can be considered an acceptable variant.

category imprint: Differences between sources

issues: GE revisions