Issues : Omitted correction of an analogous place
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b. 10-11
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In the main text we give a tie sustaining b category imprint: Interpretations within context; Editorial revisions |
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b. 13
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composition: Op. 10 No 3, Etude in E major
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In the main text we give two slurs written in A and left by Chopin with no changes in FE (→GE,EE). According to us, the half-bar slur introduced by Chopin in five previous analogous bars – bars 2, 3, 5, 10 and 11 – may be considered to be intentionally valid also here. Taking into account the very extensive scope of the proofreading, Chopin could have considered a correction in this bar to be too insignificant to charge the editor with it. Therefore, we suggest an alternative slurring, analogous to the one introduced in the aforementioned bars. category imprint: Differences between sources; Editorial revisions |
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b. 13-14
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composition: Op. 28 No. 2, Prelude in A minor
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As initially featured c1 as the top note of the even quavers, just like in previous bars. Chopin then changed it to a; however, at the end of b. 14 he left c1 (it was not crossed out), which must be considered an oversight. category imprint: Interpretations within context; Corrections & alterations; Source & stylistic information issues: Errors resulting from corrections , Accompaniment changes , Omitted correction of an analogous place |
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b. 15-19
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composition: Op. 24 No. 2, Mazurka in C major
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In bars 15 and 19, A has accents on the 2nd beat of the bar. Both marks are drawn with a lighter stroke of the pen than the remaining accents in bars 13-20, which may indicate that they had been entered earlier. This hypothesis finds confirmation in the notation of A in analogous bars 47, 51, 99 and 103, in which accents on the 2nd beat were removed, probably after the accents on the third beat in bars 45-52 and 97-104 were entered. In this situation we consider it very probable that leaving the accents in bars 15 and 19 is the result of Chopin's oversight when correcting A. It cannot be entirely ruled out that the lack of an accent on the 2nd beat in bar 19 is the result of Chopin's correction in GE1 (→FE→EE), although the adding of the sign in GE2 (→GE3) seems to contradict that possibility. category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Authentic corrections of GE , Omitted correction of an analogous place |
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b. 15-19
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composition: Op. 25 No 12, Etude in C minor
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In the main text we adopt a homogeneous form of accents at the beginning of bars 15, 17 and 19 – the long accents between the parts of both hands. As a model we adopt the accent written by Chopin in FC in bar 19. As an alternative we suggest long accents over the bottom stave, modelled on the ones Chopin probably added in bars 71, 73, 75 and 79. Similarly in bars 23, 25 and 27. category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Long accents , Omitted correction of an analogous place , Authentic corrections of FC |
2 on the basis of the most probably Chopin proofreading of 
