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b. 192-196

composition: Op. 49, Fantaisie in F minor

No signs in A (→GE)

Arpeggio signs in FE (→EE)
..

The missing arpeggio markings in A (→GE) before the chords in bar 192 and 196 must be considered Chopin's inadvertence in this context. Therefore, in the main text we give the markings added probably by Chopin to [FC] or while proofreading FE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 192-195

composition: Op. 12, Variations in B♭ major

Alternating wedges & staccato dots in FE

3 staccato dots in GE

Wedge & dot in b. 194-195 in EE
..

Chopin alternately marked the figuration bass notes with wedges and staccato dots. In the remaining editions the markings were reproduced inaccurately:

  • in GE wedges were changed to dots (as in the entire Variations – see bar 7), while the dot in bar 193 was probably overlooked;
  • in EE the markings in bars 192-193 were omitted, probably due to distraction – they appear in a new line.

category imprint: Differences between sources

issues: GE revisions

b. 192-195

composition: Op. 12, Variations in B♭ major

..

The 5th quaver in each of these bars is devoid of an accidental, which is a patent oversight. In the main text we add the necessary flats lowering d1 to d1.

category imprint: Interpretations within context

issues: Errors in FE , Omission of current key accidentals , Errors repeated in GE , Errors repeated in EE

b. 192-194

composition: Op. 12, Variations in B♭ major

..

In bar 192 and 194 the sources do not include flats to the 5th, 6th and 8th semiquaver. These are patent inaccuracies, almost certainly repeated after [A]. In the main text we add these flats.

category imprint: Interpretations within context

issues: Accidentals in different octaves , Inaccuracies in FE , Errors repeated in GE , Errors repeated in EE

b. 192-194

composition: Op. 12, Variations in B♭ major

a3 in FE (→GE,EE), literal reading

a3 suggested by the editors
..

According to us, the source version in which the last semiquaver in bar 192 and 194, devoid of an accidental, is an a3 is probably erroneous. Chopin omitted a number of necessary flats to c, g and d (even in the case of the first note in a bar, d3 in bar 195) when writing down bars 191-196, in the key of G. This suggests that Chopin considered the notes in this fragments to naturally belong to the key of G; he remembered to provide some of them with flats only from time to time. It is also worth emphasising that an indirect transition of an altered note to its resolution – in this case a3-d3-b3 – is much less frequent than the direct one, which is another argument for a3. In this situation, we consider the absence of an accidental to be a sign that the note belongs to the current key, hence that it is not an altered note, and in the main text we suggest a3.

category imprint: Editorial revisions

issues: Omission of current key accidentals