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b. 171

composition: Op. 50 No. 3, Mazurka in C♯ minor

..

AI is lacking in the  lowering d1 to d1. We regard it as the composer's oversight – after two multiple progressions, in which the 1st note of the bar is a fourth higher than the preceding one, Chopin could have considered d1 to be obvious here.

category imprint: Interpretations within context; Differences between sources

issues: Omission of current key accidentals

b. 171

composition: Op. 23, Ballade in G minor

..

Below you can find the original version of the accompaniment in the 2nd half of the bar: . This version is present in A, but the 2nd, 3rd, 5th and 6th quavers are deleted; below, there are notes of the final version, placed a third lower. However, the traces of corrections present in FE prove that the deleted version was initially printed also in FE and only then changed in print to the final text. It is difficult to say how it occurred – the engraver could have misunderstood the correction in A (it is unlikely, since it seems clear) or Chopin could have had also A in front of him while proofreading FE1 and, by mistake, marked the correction in the manuscript first. Cf. a similar situation in b. 159-160.

category imprint: Corrections & alterations; Source & stylistic information

issues: Deletions in A , Authentic corrections of FE

b. 171

composition: Op. 23, Ballade in G minor

d2-a2 & a2-b2 in A & FE1 (→GE1→GE2, →EE1→EE2)

d2-a2-a2 & d2-b2 in FE2

a2-a2 & d2-b2 suggested by the editors

f2-a2 & d2-a2-b2 in GE1a

a2-a2 & b2 in GE3 (→GE4)

a2 & d2-a2-b2 in EE3
..

The version of A (→FE1) (→GE1→GE2 →EE1→EE2) was changed in FE2. The change was almost certainly performed at Chopin's request; however, it is unlikely that he would have wanted to leave d2 in the penultimate crotchet of the quintuplet – the aim of the correction was most probably a version analogous to b. 170. Therefore, it would be an example of an unfinished correction – the engraver was supposed to move d2 from the 4th crotchet to the 5th; he inserted it in a new place, but did not remove it from the former. Such mistakes are very frequent, e.g. in the Ballade in F, Op. 38, b. 179, the Scherzo in B minor, Op. 20, b. 135 and 292 or the Polonaise in A, Op. 40 No. 1, b. 93). Therefore, in the main text we suggest a respectively modified version of FE2, most probably intended by Chopin.

Versions of the remaining sources are arbitrary attempts to partially or completely unify the respective fragments of b. 170 and 171.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions; Corrections & alterations

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

b. 171

composition: Op. 2, Variations, complete

No quaver f2 in AsI

Quaver f2 in A (→GE→FE,EE,FESB)
..

The version of AsI must be earlier, which is probably to be seen in clarinet I too – it seems that the 4th quaver was added later (along with , which was then deleted).

category imprint: Differences between sources; Corrections & alterations

b. 171-174

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

..

In bar 171 and 173-174 Chopin was consistent in the use of accidentals when writing L.H. octaves in A, which means that he put them only to the top notes. This simplified notation was complemented by GE (→FE,EE,IE), where all the omitted accidentals were added.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , Inaccuracies in A