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b. 257

composition: Op. 22, Polonaise

..

In FE (→GE), there is no  restoring g2 on the 8th semiquaver and no  restoring b2 on the 15th semiquaver. Both manifest mistakes were corrected in EE. 

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

issues: EE revisions , Errors in FE , Omissions to cancel alteration , Errors repeated in GE

b. 257

composition: Op. 22, Polonaise

..

In the main text we add cautionary flats before e1 and a1. The accidentals were also added in GE3.

category imprint: Differences between sources; Editorial revisions

issues: GE revisions

b. 257-258

composition: Op. 23, Ballade in G minor

Slur over R.H. sextuplet in A

Slurs to quavers in both hands in FE (→GE,EE)
..

The slur of A, like in b. 253, encompasses only the sextuplet, whereas in FE the slur encompasses all quavers in the motif. A corresponding L.H. part slur was also added, which confirms that the change was not random. Therefore, we consider the version of the editions to be an expression of Chopin's final intention and give it in the main text.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 257

composition: Op. 2, Variations, complete

e & g in #ApI, Af, A & FE

e & g in GE1 (→EE)

e & g in GE2 (→GE3,FESB)
..

We give the last chord as written down in AsI, Af and A, without any doubts, and as restored – almost certainly by Chopin – in the stage of proofreading FE1. The versions of GE1 (→EE) and GE2 (→GE3,FESB), both musically possible, although less natural than the text of A, most probably resulted from revisions, suggested by the apt additions to the 2nd half of bar 255, introduced just before – the reviser of GE1 added there 3 naturals raising e2, e1 and e to e2, e1 and e, while the reviser of GE2 4 naturals raising g1 to g1 in the L.H. and g2, g1 and g to g2, g1 and g in the R.H.

category imprint: Differences between sources

issues: GE revisions , Authentic corrections of FE

b. 257

composition: Op. 2, Variations, complete

f3 in chord in AsI & A

d3 in Af, FE1 (→FE2) & GE2 (→GE3,FESB)

es3 in GE1 (→EE)
..

The version of AsI and A with f3 as the topmost note of the chord on the 2nd beat of the bar is almost certainly erroneous, and it was d3 that was intended by Chopin from the very beginning. It is supported by:

  • d3 here in Af, written almost certainly earlier than A;
  • melodic analogy between the motifs at the beginning of bars 255 and 257 and the ascending sixths, d1-d3-b3 and f1-f2-d3, respectively;
  • d3 in FE1 (→FE2), which, with respect to the erroneous version of GE1 (see below), must have resulted from proofreading, most probably Chopinesque;
  • the natural character of the octave piano position.

What is more, the discussed note is written in A inaccurately, hence in GE1 (→EE) it was reproduced as e3. In GE2 (→GE3,FESB) it was changed to d3, which could have been one of the changes suggested by Chopin, if we were to assume that he took part in the editing of GE2.

category imprint: Differences between sources

issues: Terzverschreibung error , GE revisions , Errors in the number of ledger lines , Errors of A , Inaccurate note pitch in A , Authentic corrections of FE , Inaccuracies in A , Errors repeated in GE , Errors repeated in EE