Issues : Terzverschreibung error
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b. 429
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composition: Op. 11, Concerto in E minor, Mvt III
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The version of GE1 (→GE2), distorting the sequence of bass (implemented by cellos and double basses), must be erroneous. However, the traces of proofreading visible in FE prove that it was the engraver of this edition that committed a mistake, yet in GE1 the note was revised by adding an admittedly overlooked category imprint: Differences between sources issues: Terzverschreibung error , GE revisions , Authentic corrections of FE , Errors repeated in GE |
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b. 441
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composition: Op. 11, Concerto in E minor, Mvt I
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In FE, there is no category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information issues: EE revisions , Errors resulting from corrections , Terzverschreibung error , GE revisions , Omission of current key accidentals , Authentic corrections of FE |
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b. 443
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composition: Op. 39, Scherzo in C♯ minor
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In the copyist's notation of this chord in GC there is no ledger line for a2 (compare identical errors in bars 91 and 100). The line penciled in here was most probably added by the egraver or editor. category imprint: Source & stylistic information issues: Terzverschreibung error , GE revisions , Errors of GC |
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b. 480
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composition: Op. 11, Concerto in E minor, Mvt III
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In GE1 (→GE2), the last triplet begins with b2. The structure of the figuration, confirmed by the version of analogous bar 484, points to a Terzverschreibung error. The mistake was rectified in GE3. category imprint: Interpretations within context; Differences between sources issues: Errors in GE , Terzverschreibung error , GE revisions |
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b. 487
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composition: Op. 21, Concerto in F minor, Mvt III
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FE features an A1 as the minim on the 2nd beat of the bar. If we take into consideration the piano part and this bar only, the note would be absolutely natural, yet in a broader context, it is obviously erroneous, since the stability of the bass note is out of the question in this place – cf. C-c in the double basses and cellos in Morch. The mistake was corrected in EE, most probably following the logic of the harmonic progression. Chopin did not notice this mistake both in the proofreading of FE (in spite of adding an accent!) and during lessons, which may mean that the pupil did not notice it either. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Errors in FE , Terzverschreibung error |
, while in 
raising c2 to c
2. Visible traces of corrections in print reveal that it was a