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b. 325

composition: Op. 2, Variations, complete

d3 in AsI

e3 in A (→GE→FE,EE), literal reading

e3 suggested by the editors
..

The pitch of the 2nd semiquaver in the 5th triplet is questionable – when interpreted literally, it is an e3; however, in all analogous places a respective note is placed a fifth (perfect) lower than the previous one, in this case e3, which suggests Chopin's possible mistake. In uneven triplets, the 2nd and 3rd semiquavers melodically combine with the next triplet, which Chopin carefully marked with R.H. slurs; however, this does not determine their harmonic affiliation. The latter is determined by the L.H. sequence (with different slurs!), consisting of D-T sequences filling two subsequent quavers, which, in turn, is clearly signalled by the bass voice beams. If we also take into account Chopin's tendency to forget about previous alterations (in this case it is really far – this is the only bar within bars 321-329 in which the 1st semiquaver is altered), an accidental oversight of a  restoring e3 seems very likely. Therefore, the absence of a  to the unquestionable e3 in the next triplet belongs to Chopin's typical inaccuracies – it is a note belonging to the current chord (A major) and was marked a semiquaver earlier in the L.H. part. Taking into consideration the above, in the main text we suggest adding accidentals so that the discussed fragment of the progression does not deviate from the binding scheme.

In AsI the 5th triplet in the bar is presented in the initial form (see also bar 328), in which the problematic note is absent. The introduction of a change in this place is an argument for Chopin's mistake in A, since corrections narrow down the attention field, which is conducive to errors.

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

issues: Accidentals in different octaves , Omissions to cancel alteration , Errors resulting from corrections , Errors of A , Main-line changes

b. 325

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

Triad in A (→GE→FE,IE) & EE2

b1 only in EE1
..

The EE1 version is a mistake by the engraver, corrected in EE2.

In the main text we omit the  to the d1 minim in the middle of the bar, unnecessarily repeated in A. It was also omitted in GE (→FE,EE,IE).

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in EE , GE revisions , Cautionary accidentals

b. 325-326

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

in A

Longer  in GE (→FE,IE)

No sign in EE
..

In the main text we reproduce the  hairpin entered into A. In GE (→FE,IE) the mark was arbitrarily extended, as a result of which it spans almost two entire bars (a similar situation is to be found 4 bars later). The absence of the mark in EE is most probably due to the engraver's oversight.

category imprint: Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in EE , GE revisions ,

b. 326-327

composition: Op. 39, Scherzo in C♯ minor

Slurs in EE & GC (→GE)

Slur in FE
..  

category imprint: Differences between sources

b. 326-334

composition: Op. 21, Concerto in F minor, Mvt III

No slurs in A (→GE1→FE)

Double slurs in EE

Slur in bar 327 in GE2

Slurs suggested by the editors
..

In the main text we add slurs in the L.H. in bars 326-328 and 334 after the respective bars in the exposition. A simplified notation – slurs only in bars 325 and 333, most probably as a model for the next bars – is probably a result of Chopin's increasing haste at the time of writing A. In EE double slurs were added in these bars, same as in bars 325 and 333. In GE2 a slur was added only in bar 327 (and 335). 

category imprint: Differences between sources; Editorial revisions

issues: EE revisions