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b. 325-326

composition: Op. 16, Rondo in E♭ major

Slur in FE (literal reading→GE,EE)

Slur in FE, contextual interpretation

..

The extended ending of the slur in FE in bar 325 – in that source it is the last bar on the page – suggests its continuation, unconfirmed, however, by the slurless first half of bar 326. The comparison with analogous bars 321-322 (as well as 329-330) proves that the slur should be continued to the 4th semiquaver of the next bar. The revisers of GE and EE deemed the end of slur in bar 325 inaccurate, and shortened it.

category imprint: Differences between sources; Editorial revisions

issues: EE revisions , Errors in FE , GE revisions

b. 325

composition: Op. 16, Rondo in E♭ major

category imprint: Source & stylistic information

issues: Cautionary accidentals , Last key signature sign

b. 325-326

composition: Op. 44, Polonaise in F♯ minor

No slurs in GE1

2 slurs in FE (→EE) & GE2

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The absence of slurs in GE1 must be the engraver's oversight (four similar slurs in b. 323-325 are present in GE1). The mistake was corrected in GE2.

category imprint: Differences between sources

issues: Errors in GE , GE revisions

b. 325

composition: Op. 2, Variations, complete

d3 in AsI

e3 in A (→GEFE,EE), literal reading

e3 suggested by the editors

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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 (→GEFE,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