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b. 334-335

composition: Op. 2, Variations, complete

Slurs to b & a1 in A & FE

Slurs to a1 & f1 in GE, possible interpretation

Slurs to b, f1 & a1 in EE, possible interpretation

Slurs to b & f1 in FESB, possible interpretation

Slurs to b & f1 in GE3, possible interpretation
..

In GE, FESB and EE bar 335 opens a new line, which caused the distortion of the slurs ending on the 1st quaver in this bar. In the graphic transcription we reproduce the versions of these editions without changes, whereas in the content transcription (version 'edited text') we give their most likely (according to us) interpretation. In the main text we reproduce the unequivocal notation of A and FE (the notation of FE could have resulted from Chopin's intervention in the copy of GE1 serving him as the basis, since on the basis of the notation of GE it is difficult to guess the correct version, and neither the reviser of EE nor the reviser of FESB succeeded at it).

category imprint: Graphic ambiguousness; Differences between sources

issues: EE revisions , Errors in GE , Authentic corrections of FE , Revisions in FESB

b. 334

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

..

In the main text we add a cautionary  to e3.

category imprint: Editorial revisions

b. 335

composition: Op. 39, Scherzo in C♯ minor

..

In FE  augmenting e to e is indispensable. In other sources it is only a cautionary marking after e1 in the previous bar (it is not there in EE). Similarly in FE  augmenting c1 to c1. As a cautionary accidental it is only used in EE.

category imprint: Source & stylistic information

issues: Cautionary accidentals

b. 335

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

..

The trilled note in A is an erroneous c2. A similar mistake, consisting in writing the upper second of the trilled note instead of the trilled note, while the performance of the trill begins from the upper second, was committed by Chopin also in the Bolero, Op. 19, bar 187 and in the Sonata in B minor, 3rd mov., bar 20. In GE1 (→FE→EE) the error was corrected, probably by Chopin, whereas GE2 returned to the erroneous text of A. See also the note in the next bar.

In the main text we add a cautionary  before b1.

category imprint: Differences between sources

issues: Errors in GE , GE revisions , Errors of A , Authentic corrections of GE

b. 335-336

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

No slur in A

Tie in GE1 (literal reading→FE→EE)
& GE2

Slur in GE1, contextual interpretation
..

Due to pitch errors both in A and GE2 (in bar 335) as well as in GE1 and in the remaining editions (in bar 336), it is difficult to evaluate the authenticity of the curved line appearing in the editions and to unravel its meaning. It combines notes at the same pitch level – b1 in GE1 (→FE→EE) and c2 in GE2 (literal interpretation) – which confers it the nature of a tie. According to us, the curved line could have been added by Chopin together with the proofreading of the erroneous trilled note in bar 335 or by the engraver of GE1 together with the superfluous change of the crotchet in bar 336. Taking into account that in GE1 these bars are on different pages, it is more likely to relate the curved line to a change performed on the same page, hence in bar 335, particularly since in bar 336 GE1 does not include the ending of this curved line at all. It leads to a version with a slur linking the trilled b1 with the c2 crotchet, to a certain extent analogous to the ending of the exposition (bars 179-180). In face of source and interpretative doubts concerning the curved line, in the main text we leave the version without it, written in A.

category imprint: Differences between sources

issues: GE revisions