mUltimate Chopin

Text Compare Notes Sources Description

Issues : Errors resulting from corrections

b. 22-23

composition: Op. 28 No. 16, Prelude in B♭ minor

b1 & b2 in A & FE2 (→EE)

b1 & b2 in FC (→GE)

b1 & b2 in FE1
..

Before the 7th semiquaver in A there was initially a  (cautionary due to B(1) in the L.H.), which Chopin turned to a . Fontana and the engraver of FE1 misinterpreted that correction by considering it a deletion of the accidental, hence FC (→GE) and FE1 does not contain any accidental before that note, which gives b1. When the figure is repeated an octave higher (at the beginning of b. 23) in FC (→GE), there is also no , which can be explained by an oversight (it would be a puzzling coincidence!) or by a revision, introduced in the belief that it is also here that the alleged crossing-out from b. 22 should be taken into account.
In both places, the naturals visible over the notes were added in FC by H. Scholtz probably in the 1870s.

category imprint: Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections , FE revisions , Errors of FC

b. 24

composition: Op. 10 No 11, Etude in E♭ major

..

In A there is no  before the topmost note. It is a result of an oversight in the change of notation of this chord from f1-c1-f2 to e1-c2-e2. The accidental was already added in FE (→GE,EE). 

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

issues: Corrections in A , Errors resulting from corrections , Enharmonic corrections , Authentic corrections of FE

b. 24

composition: Op. 28 No. 11, Prelude in B major

No pedal in A, contextual interpretation

  in FC (→GE) & FE (→EE)
..

In the 1st half of the bar, the only mark in A is a , without a , which should precede it. Both FC (→GE) and FE (→EE) considered it an oversight and added a  at the beginning of the bar. However, it may be likely that Chopin's mistake consisted in placing the  asterisk cancelling the  mark from b. 21 too far and leaving it there (not crossing it out), in spite of adding the right  mark at the end of b. 22. We consider this interpretation to be more likely and give it in the main text.

category imprint: Differences between sources

issues: Errors resulting from corrections , Errors of A , FE revisions , Fontana's revisions

b. 24

composition: Op. 28 No. 12, Prelude in G♯ minor

c1 in sources

c1, our alternative suggestion
..

The suggested version based on an A major chord can be considered an acceptable variant. The version was probably the initial one in A; Chopin then changed it to a version that does not sonically diverge from the next two bars. According to us, that change, however, could have been a result of a confusion: b. 24-25 could have been taken for b. 25-26.

category imprint: Interpretations within context; Editorial revisions; Source & stylistic information

issues: Corrections in A , Errors resulting from corrections

b. 25-27

composition: Op. 24 No. 4, Mazurka in B♭ minor

..

In bars 25-28 A initially had the rhythm . Later, Chopin was adding dots and beams, yet inaccurately, omitting the 2nd dot on the 2nd beat of bar 25 and on the 2nd and 3rd beats of bar 27. Those errors were corrected in GE (→FE→EE).

category imprint: Differences between sources

issues: Errors resulting from corrections , Rhythmic errors , Errors of A