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b. 247

composition: Op. 16, Rondo in E♭ major

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category imprint: Graphic ambiguousness; Source & stylistic information

issues: Inaccuracies in GE , GE revisions

b. 247-248

composition: Op. 31, Scherzo in B♭ minor

No markings in A (→FE→EE)

One-bar pedalling in FC (→GE)

Two-bar pedalling, our alternative suggestion
..

In the main text we give the pedalling entered by Chopin into FC (→GE). We provide justification for the suggested alternative version in the note to analogous b. 115-116.

category imprint: Differences between sources; Editorial revisions

issues: Authentic corrections of FC

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