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b. 319

composition: Op. 2, Variations, complete

d2 & d1 in sources

d2 & d1, possible alternative interpretation
..

The pitch of the middle note in the penultimate triplet (in both bars) raised doubts of many later editors of Chopin's works. In fact, there are many arguments that make one consider an oversight of the  restoring d2(1) to be likely. However, as the literal interpretation of the text results in a version that perfectly fits into the Chopinesque style, in the main text we leave the source version.

category imprint: Editorial revisions; Source & stylistic information

issues: Omissions to cancel alteration , Errors of A

b. 319

composition: Op. 2, Variations, complete

5 wedges in AsI & A

6 wedges in GE (→EE,FESB)

No marks in FE
..

Chopin marked with wedges 5 thirds, since the last two are connected by a slur. Therefore, the sixth wedge in GE (→EE,FESB) must be a mistake. In FE all these marks were omitted, which was most probably a side effect of the intervention in the size of notes – see the next note.

As far as the notation of AsI is concerned, it is inaccurate, while the compliance in terms of the number of wedges with the version of A is most probably accidental – Chopin scribbled a few dashes (marking wedges) with the intention of marking all 6 semiquavers in this way and did not bother to check their number in the working manuscript (in the R.H. he put as many as 7 dashes!).

category imprint: Differences between sources

issues: Errors in FE , Errors resulting from corrections , Errors in GE

b. 319

composition: Op. 49, Fantaisie in F minor

Long accent in A (→GE)

No mark in FE (→EE1)

Short accent in EE2
..

In the case of a single mark, it is difficult to say whether its absence in FE resulted from an oversight or whether Chopin added this accent to A after [FC] had been finished. The length of this accent is also uncertain, particularly when compared with the mark at the beginning of bar 318. The interpretation we adopted is supported by (in addition to the musical context – long note) a combination of graphic factors – it is longer than the marks in bar 317 and narrower and tilted to a lesser extent than the accent in bar 318. The engraver of GE was also influenced by the mark's length to a certain extent – in this edition the respective mark is slightly longer than the previous ones. 

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in A

b. 319

composition: Op. 49, Fantaisie in F minor

in A & FE (→EE)

Longer  in GE
..

The  hairpin in A clearly concerns the 2nd half of the bar. However, the mark begins slightly before the dotted crotchet, which was enough to make the engraver of GE extend the hairpin so that it occupies the entire bar.

category imprint: Differences between sources

issues: Scope of dynamic hairpins , GE revisions

b. 319

composition: (Op. 4), Sonata in C minor, Mvt IV

..

We add a cautionary  before e2 in the main text.

category imprint: Editorial revisions