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b. 247-248

composition: Op. 44, Polonaise in F♯ minor

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In these bars the sources include naturals (cautionary?) before the D crotchets – GE before both, while FE (→EE) only in b. 247. We omit those accidentals in the main text.

category imprint: Differences between sources; Editorial revisions

issues: Cautionary accidentals , Last key signature sign

b. 247

composition: Op. 23, Ballade in G minor

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In A (→FE→EE) there is no  restoring b2 on the penultimate quaver. A comparison with similar phrases an octave higher and lower proves that it was an oversight by Chopin. The accidental was added by GE.

category imprint: Interpretations within context; Differences between sources

issues: Omissions to cancel alteration , Errors of A , Errors repeated in FE , Errors repeated in EE

b. 247

composition: Op. 23, Ballade in G minor

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In A, one can see two more deleted notes between the c3 and b2 quavers; in addition, the not entirely removed stem of the former was left untouched. Consequently, it probably caused the mistake of FE, in which one can see traces of removal of a redundant note, most probably c3, placed between d3 and c3. It is uncertain what the aim of the corrections of A was. Below we present a hypothetical reconstruction of a respective fragment with the removed notes having been revealed: . The notation can be explained as follows:

  • After d3, the first notes to have been written down were the three 'top' quavers c3-b2-a2, which means that Chopin wanted to start writing down the roulade without an octave sign already from c3; moreover, it means that he overlooked the c3-b2-d3 motif.
  • Chopin then changed his intentions as to the end of the octave sign, removed c3-b2, written down without an octave sign, and rewrote them an octave lower, planning to encompass them with an octave sign.
  • In that moment, he decided to add the c3-b2-d3 motif, or, which we consider more likely, he noticed that he had overlooked it. Therefore, he removed the 'bottom' b2 he had just entered and the following a2, before continuing with writing, starting from b2.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , Deletions in A , Authentic corrections of FE

b. 247-248

composition: Op. 23, Ballade in G minor

No slur in A (→FE)

g1-f1 slur in GE & EE
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The fourth slur, added by GE and EE, almost certainly resulted from an arbitrary revision, frequently encountered in Chopin's pieces; it consists in 'completing' slurs between the given chords – for example, if, like here, 3 slurs linked two four-note chords, it would be considered a mistake, and the 'missing' slur would be added (cf., e.g. the Mazurka in D, Op. 33 No. 3, b. 8-9 and analog. or in B, Op. 41 No. 2, b. 4-5 and analog.).

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 247-251

composition: Op. 2, Variations, complete

Semiquavers in AsI

Dotted rhythms in A (→GE→FE,EE,FESB)
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The rhythm with semiquavers only present in bars 247, 249 and the 1st half of bar 251 was written in AsI twice – as the earliest version (the initial one written in ink) and the latest one (corrections in pencil). While preparing the version for one piano for print, Chopin opted for dotted rhythms, which we give in the main text.

category imprint: Corrections & alterations

issues: Dotted or even rhythm