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Issues : Errors of A
b. 5-9
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composition: Op. 26 No 1, Polonaise in C♯ minor
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Both in bars 5 and 9 A does not include the category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE |
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b. 5
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composition: Op. 28 No. 8, Prelude in F♯ minor
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In A there is no accidental before the 1st note in the 4th group of demisemiquavers, which should therefore be interpreted as a category imprint: Interpretations within context; Differences between sources; Source & stylistic information issues: Errors in GE , Cautionary accidentals , Errors of A , FE revisions , Fontana's revisions |
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b. 6
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composition: Op. 25 No 1, Etude in A♭ major
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In all manuscripts, FE and EE1 (→EE2) have no flats returning e category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: EE revisions , Omissions to cancel alteration , GE revisions , Errors of A |
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b. 6
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composition: Op. 21, Concerto in F minor, Mvt II
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All source notations of the 2nd half of the bar are erroneous or unclear, however, none of them can be corrected in a way that would not be questioned.
In this situation, we base the main text on the version of A which, in spite of its inaccuracies, seems to be the most reliable, as far as the authenticity is concerned. Out of two natural possibilities of correcting the mistake (changing two demisemiquavers to hemidemisemiquavers or deleting one of the dots extending the e category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE , Errors in GE , Rhythmic errors , Errors of A , Authentic corrections of FE |
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b. 6
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Both autographs are lacking in the category imprint: Interpretations within context; Differences between sources issues: Errors of A , Authentic corrections of FE , Last key signature sign , Errors repeated in EE |