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b. 253

composition: Op. 19, Bolero

 
 
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The staccato dot in GE must be considered an accidental mistake of the engraver.

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category imprint: Differences between sources

issues: Inaccuracies in GE

b. 253

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

Alignment of notes in FE (→GE1→GE2)

Alignment of notes in EE & GE3
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In FE (→GE,EE), there is no digit determining the rhythmic shape of the group of 7 quavers. The alignment of notes with respect to the L.H. adopted in FE (→GE1→GE2) suggests the following grouping: , which combines well with the stretto indication, written in the 2nd half of the bar. Due to this reason, we preserve this notation in the main text. However, FE are not entirely reliable in this respect, since they feature numerous examples of more or less blatant mistakes in this regard (e.g. in bar 519, the 2nd mov., bar 23, the 3rd mov., bar 475, cf. also the Nocturne in B minor, op. 9, no. 1, bars 73 and 75). Therefore, the layout adopted in EE and GE3, corresponding to a  septuplet, may be considered a fully-fledged variant. Practically, the written down rhythm serves as inspiration only; its performance should be uninhibited, smooth and emotionally suggestive.  

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category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , GE revisions

b. 253-254

composition: Op. 23, Ballade in G minor

Slur over sextuplet in A

Longer slur in FE (→GE,EE)
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The slur of A clearly reaches the last note of the sextuplet only. In spite of that, the slur of FE (→GE,EE) is longer, which is difficult to be considered an inaccuracy or an arbitrary decision, since a similar difference is to be found in b. 257-258 (cf. a similar situation in b. 172-174 and the Chopinesque corrections to A in b. 8-19). Therefore, we consider the longer slurs to have been proofread by Chopin and give them in the main text.

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category imprint: Differences between sources

issues: Authentic corrections of FE

b. 253

composition: Op. 2, Variations, complete

g in AsI, FE & EE3

g in A (→GE→FESB,EE1→EE2
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The missing  lowering g to g in A and the majority of the editions must be Chopin's mistake, which is proven by g present in AsI (both in the piano and the orchestral part) and in the violas and the bassoon in GEork (→FEork). In addition, the accidental was added, probably by Chopin, in the stage of proofreading FE; it is also in EE3.

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category imprint: Differences between sources

issues: EE revisions , Errors of A , Authentic corrections of FE

b. 253

composition: Op. 49, Fantaisie in F minor

Longer  in A (→GE)

Half-bar  in FE (→EE)
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As in bar 85, the  hairpin in A is longer than the vast majority of marks in analogous bars, encompassing the first half of a bar. Although in this case the mark encompasses the entire next triplet, we consider it an inaccuracy (such nonchalant flourish can be observed even more frequently in the case of slurs). In the main text we give the FE version of the mark, compliant with its presented contextual interpretation.
Similarly, in bar 257.

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category imprint: Differences between sources; Editorial revisions

issues: Scope of dynamic hairpins