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b. 184

composition: Op. 38, Ballade in F major

Two-note slur in A (→GC)

No slur in FE, EE & GE
..

In the editors' opinion, the slur in A is a remnant of the original version, as in bar 180. In the discussed bar the longer slur added by Chopin in GC may even be regarded as joining the short one, which confirms our conviction that the long slur was meant by Chopin to replace the short one. It was reproduced that way in GE. The slur from A was overlooked in both FE and EE.

category imprint: Graphic ambiguousness; Differences between sources

issues: GE revisions

b. 184

composition: Op. 38, Ballade in F major

No slur in A (→FE,EE)

Slur in GC (→GE)
..

The slur in GC (→GE) was almost certainly written by Chopin – cf. the analogous bar 180, where the corresponding slur occurs in all the sources. The omission of the slur in A was caused most likely by the deletions which forced Chopin to write most of this bar on an additional staff.

category imprint: Differences between sources

issues: Errors resulting from corrections , Authentic corrections in GC

b. 184

composition: Op. 44, Polonaise in F♯ minor

No mark in sources

Long accent suggested by the editors
..

In the main text we suggest supplementing the accent after analogous b. 139, 159, 198 and 218.

category imprint: Editorial revisions

b. 184-185

composition: Op. 44, Polonaise in F♯ minor

in bar 184 in GE

in bar 185 in FE (→EE)

Our variant suggestion
..

According to us, both source versions of pedal markings are most probably authentic. The shorter pedal of GE corresponds to the pedalling of analogous b. 139 and 159. In turn, the longer pedal of FE (→EE) includes, as it seems, the R.H. part register, in this bar significantly higher than in the remaining analogous places, as a result of which it is also a longer pedal that sounds clean.

category imprint: Differences between sources; Editorial revisions

b. 184

composition: Op. 2, Variations, complete

 in AsI

 & grace notes in A (→GE→FE,EE,FESB)

 with  & grace notes suggested by the editors
..

In AsI the ornament, added probably later, is provided with a draft and not entirely clear form; however, it is most probably . Chopin would often use this mark in the sense of  (at times they are even difficult to tell apart). Therefore, the use of a different mark does not have to mean that Chopin envisaged a longer ornament.
Placing a  under the third in FE, which, formally speaking, changes its meaning, is a routine manner of the engravers, who would often move marks (concerning particular notes, but also slurs) to the side of noteheads (in the editions the stems of the notes in the 2nd half of the bar point upwards). Cf., e.g. the Polonaise in F minor, Op. 44, b. 10. The absence of this  in FESB is most probably an oversight.

None of the sources includes a mark that would specify the sound of the ornament's top note. The prevailing key in b. 184-190, F major, requires the use of e2, which in the main text we indicate with naturals. Omissions of accidentals in similar situations is a rule rather than an exception in Chopin's pieces – apparently, the composer believed that the sense of key would suggest the right note to the performer.

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

issues: Errors in FE , Placement of markings , FE revisions , , Errors in FESB