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b. 217

composition: Op. 43, Tarantella

 
 
 
 
..

Given g in the previous and next bars, we may assume that also the middle note of the chord in the second half of b. 25 was intended by Chopin to be g and he must have overlooked . However, the g version is no less musically satisfactory, and so, assuming Chopin did not make a mistake, we provide this version for the main text.

category imprint: Interpretations within context; Differences between sources

issues: GE revisions , Omission of current key accidentals

b. 217

composition: Op. 43, Tarantella

..

Similarly to bars 25, 41 and 201 we add cautionary  before c1 in the second half of the bar.

category imprint: Editorial revisions

b. 217

composition: Op. 39, Scherzo in C♯ minor

..

FE1 does not have  for the topmost note of the chord in the L.H. That obvious omission was corrected in FE2.

category imprint: Source & stylistic information

issues: Errors in FE

b. 217

composition: Op. 42, Waltz in A♭ major

Fingering written into FEJ

No teaching fingering
..

The sign added in crayon in FEJ probably means the fingering number, '1'.

category imprint: Differences between sources

issues: Annotations in teaching copies , Annotations in FEJ

b. 217

composition: Op. 42, Waltz in A♭ major

..

In the entire bar FE0 (→FE,FEG) has only two cautionary accidentals: a  lowering g2 to g2 on the 3rd quaver and a  raising a1 to a1 in the L.H. Out of three undoubtedly overlooked signs in the R.H., it is the lack of the  raising a1 to a1 at the beginning of the bar that is most striking; the accidental was added in pencil in FED, it was also added in GE and EE. In both editions a  was added also before the last quaver, yet the fully correct notation is only in GE.

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , EE revisions , Errors in FE , Annotations in FED , Accidentals in different octaves , GE revisions , Omission of current key accidentals