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b. 367

composition: Op. 16, Rondo in E♭ major

..

In FE (→GE), there is no natural restoring d2. This patent oversight was corrected only in EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Errors repeated in GE

b. 367

composition: Op. 11, Concerto in E minor, Mvt III

c in FE (→GE)

e in EE
..

The version of EE is erroneous – cf. analogous bar 359; the mistake was probably caused by the similarity of subsequent triplets. In FEH, an annotation in the form of 'ut,' i.e. c, was written next to that note, which can be interpreted as a note that it is not an e.

category imprint: Differences between sources; Source & stylistic information

issues: Annotations in teaching copies , Errors in EE , Terzverschreibung error , Annotations in FEH

b. 367

composition: Op. 11, Concerto in E minor, Mvt III

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FE is missing an accidental before the last semiquaver of the bar. The patent inaccuracy was corrected in GE (EE contains an erroneous note, i.e. e – see the adjacent note).

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Inaccuracies in FE , GE revisions

b. 367

composition: Op. 2, Variations, complete

pédale de la basse in AsI

 after first quaver in A, literal reading

 under 2nd quaver in GE (→FE,EE,FESB)

 under 1st quaver suggested by the editors
..

The placement of the  mark in A does not allow us to reproduce Chopin's intention unequivocally. Statistically speaking, Chopin would write a  mark more often – especially in the case of low-placed bass notes – before the note it was supposed to concern than after such note, but his autographs include both situations. Therefore, we assume that in this case it is the pianistic context that is decisive – bass pedal notes belong to Chopin's favourite harmonic procedures, hence the doubled F1-F octave held with pedal seems to be more likely than the solution adopted by the editions. This conclusion is confirmed by the notation of AsI – the 'bass pedal' indication written under the semiquaver figuration undoubtedly refers to the reverberation of the initial octave, which in the orchestral part is sustained by the f note, played in bars 367-368 by the bassoon, while in bars 369-370 by the French horn. 

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

issues: GE revisions , Inaccuracies in A

b. 367-368

composition: Op. 2, Variations, complete

..

In A a few necessary naturals restoring the right pitch to the previously altered notes are missing – to g2, c3, e3 in bar 367 and to c3 in bar 368. In GE1 (→FE,EE,GE2→FESB) only the second one was added, while in GE3 a third one was also added.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , Omissions to cancel alteration , GE revisions , Errors of A