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b. 238

composition: Op. 49, Fantaisie in F minor

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The first quaver in the last triplet was initially written as B in A. Eventually, Chopin decided to wait with the change of the middle note of the broken chord to the end of the bar, as in the next bar.

category imprint: Differences between sources; Corrections & alterations

issues: Corrections in A , Deletions in A , Accompaniment changes

b. 238

composition: Op. 49, Fantaisie in F minor

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In FE1 there is an f-a1 tenth instead of the f-f1 octave, which is a mistake.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Terzverschreibung error , FE revisions

b. 238-240

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

Slur divided after b. 238 in A, literal reading

Continuous slur in A, contextual interpretation

Separate slurs in GE (→FE,EE,IE)
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The interpretation of the slurs in A in these bars is ambiguous due to the possible inaccuracies of notation:

  • The slur beginning in bar 238 breaks off at the beginning of bar 239, giving way to the next slur, running from the 2nd quaver of this bar to the end of the line. The shape and position of both slurs suggest that both were written with one stroke, and the gap between them resulted from ink stoppage. Due to the above, in the main text we suggest a continuous slur here.
  • The situation between bars 239-240 is also ambiguous, as bar 240 opens a new line. As it is often the case in Chopin's manuscripts, the slur at the end of bar 239 indicates that it should be continued, which is, however, not confirmed by the slur starting from the 1st quaver in bar 240. The homogeneous sequence of thirds gives no reason for breaking the slur, hence we consider the slur in bar 239 to be reliable.

In GE (→FE,EE,IE) the slurs were divided in both places, which can be considered acceptable only between bars 238-239.

category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccurate slurs in A , Uncertain slur continuation

b. 238

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

b3 in A (literal reading→GE→FE,IE)

b3 in EE

b3 (with ) suggested by the editors
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The  raising b3 to b3 added in EE  is a routine revision, justified by dozens of places in which Chopin considered the accidental written the first time a given note appears to be valid also in other octaves (cf., e.g. the notation of the passages in bars 266-278). However, in this case, the altered note is only in the L.H. part, and its influence on the R.H. passage is not as obvious, particularly if we consider the shape of the melody of these passages in the preceding bar, where the 4th and 8th quavers are not within the key; they are foreign notes. Due to the above, in the main text we consider the A text (→GE→FE,EE) as if it did not contain a mistake, while in the main text we add a cautionary , advisable in this situation.  

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

issues: EE revisions , Accidentals in different octaves

b. 238

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

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In A (→GE→FE,EE,IE) Chopin wrote two cautionary flats in the R.H. part, to a2 and a3 (the 5th quaver). In the main text we also add a  to the L.H. part, which was also performed in GE (→FE,EE,IE); on the other hand, we omit the unnecessary accidental to the 5th quaver.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions , Cautionary accidentals