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b. 1
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composition: Op. 22, Andante spianato
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The missing dot extending the crotchet in the metronome marking in the editions is most probably a mistake. The dot is also imperceptible on the photo of FED, which – provided it is a faithful reflection of the situation – is also an inaccuracy. The slightly calmer tempo indicated by Chopin in FED could have been a teaching comment directed to Miss O'Méara only, hence it cannot be considered a proof of modification of the tempo concept of Andante. Therefore, in the main text we suggest a variant solution. category imprint: Differences between sources; Editorial revisions issues: Annotations in teaching copies , Errors in FE , Annotations in FED |
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b. 1-15
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composition: Op. 22, Polonaise
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In the sources, the fragments that are performed without solo piano in the orchestral version do not contain any indications concerning the instrumentation in the version for solo piano. In b. 1 and 15, in which an indication of an authentic instrumentation concept could be inspiring for the pianist, we add these indications in the main text based on the original orchestral voices. It is compliant with the custom adopted in the first editions of all the remaining pieces with orchestra composed by Chopin, which is also confirmed by the preserved autographs of the Variations, Op. 2, the Krakowiak, Op. 14 and the Concerto in F Minor, Op. 21 (e.g. in the 2nd mov., b. 2-5). category imprint: Editorial revisions |
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b. 1
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composition: Op. 22, Polonaise
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In spite of the title, which clearly indicates that the piece is a polonaise, there is no indication that it is here that the actual polonaise begins, which we consider an oversight and correct it in the main text. It was already GE that introduced a relevant addition; it is also in EE2, most probably on the basis of GE. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 1
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composition: Op. 50 No. 1, Mazurka in G major
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In the main text we give a wedge as the staccato mark over the 1st quaver in the R.H. Wedge is present in both preserved autographs, i.e. Afrag and A1. We do so because the engraver of GE1 reproducing the notation of [A2] inaccurately seems to be more likely than a change of this detail while writing [A2] (an example of such an inaccuracy is FE1, in which dots are present wherever A1 clearly features wedges). category imprint: Differences between sources issues: Inaccuracies in FE , Wedges |
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b. 1-6
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composition: Op. 50 No. 2, Mazurka in A♭ major
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Five slurs under the bass voice are an improvement introduced by Chopin in [A2] or in the proofreading of GE1. Chopin also added pedalling, probably at the same time. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of GE |
= 69 in 
= 69 in 
