Issues : Terzverschreibung error

b. 8

composition: WN 37, Lento con gran espressione

f in A1 & CJ

d in CK (→CB) & EL

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The concordant text of A1 and CJ leaves no doubts that it was also [A2] that featured f here. Therefore, the d note present in CK (→CB) and EL is a result of an arbitrary decision and most likely Kolberg's mistake, doubled by the use of abridged notation and reproduced by further copying.

category imprint: Differences between sources

issues: Terzverschreibung error , Kolberg's revisions

b. 8

composition: Op. 44, Polonaise in F♯ minor

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In FE1 the last two R.H. dyads are c3-a3 sixths. This patent mistake was corrected in FE2 and EE.

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Terzverschreibung error , FE revisions

b. 9

composition: Op. 25 No 2, Etude in F minor

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The last crotchet in GE1 is an e1. The reason of this patent error could have been the unnaturally high position of this note in GC. The mistake was corrected in GE2 (→GE3).

category imprint: Interpretations within context; Differences between sources

issues: Errors in GE , Terzverschreibung error , GE revisions

b. 11

composition: Op. 25 No 12, Etude in C minor

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FE has an f1 instead of a1 as the 8th semiquaver in the L.H. The engraver's error is proved by the compatible version of the remaining sources, the version of analogous bar 3 and a correction written in pencil in FES

category imprint: Interpretations within context; Differences between sources

issues: Annotations in teaching copies , Errors in FE , Terzverschreibung error , Annotations in FES

b. 12

composition: WN 17, Polonaise in B♭ major

Chord in JC

Sixth in EF

Another chord in PE

Our suggestion

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The sound of the 2nd quaver intended by Chopin gives rise to doubts. JC has here a b-e1-g1 triad, while EF  – a b-g1 sixth. Each of those versions smoothly combines both with the spread chord d-b-f1 in the previous bar and the next three quavers creating a B major chord. Those versions, and particularly the sixth confirmed in analogous bar 39, may be considered as a fully-fledged alternative for the reconstruction of the version of [A] described below.

PE has here an e-g-e1 chord, most probably including the erroneous in this context e note. Taking into consideration various possibilities of the lithographer's errors, as well as the harmonic content and the accompaniment's voice-leading, we consider the g-b-echord as the most justified reconstruction of the version of [A] and we propose it in such form in the main text.

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in PE