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Issues : Accidentals in different octaves

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b. 143-144

composition: Op. 35, Sonata in B♭ minor, Mvt I

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In GC and FE (→EE1) there are no naturals raising e1 to e1 in the 3rd crotchet in bar 143 and e3 to e3 in the 6th quaver in bar 144. The first of them was added in FED, both were added in GE and EE2.

category imprint: Differences between sources

issues: Annotations in teaching copies , EE revisions , Annotations in FED , Accidentals in different octaves , GE revisions

b. 143

composition: Op. 21, Concerto in F minor, Mvt I

f2 in A (literal reading→GE1→FE)

f2 in A (contextual interpretation) & EE

f2 in GE2
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Before the penultimate note in A (→GE1→FE) there is no accidental specifying whether it is to be f2, in accordance with the figuration's logic, or f2, in accordance with the orthographic rules. In this kind of figures, transferred by an octave, Chopin would often omit repetitions of accidentals, considering them to be obvious. The fact that he heard f2 here is proved by cautionary naturals before the f1-f2 octave in the next bar, added in the proofreading of FE (→EE), most probably by Chopin. In this situation, in the main text we adopt the version with f2. It is also in EE, in which a  was probably added after having taken into account cautionary naturals (cf. bar 171). GE2 opted for the version with f2, adding a  before it.

category imprint: Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A

b. 144

composition: Op. 38, Ballade in F major

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In A (→GC,FE) the  raising c2 to c2 is only written before the 8th semiquaver. The accidental before the 2nd semiquaver was added in EE and GE, but only EE removed the then superfluous  in the 2nd half of the bar.

category imprint: Interpretations within context; Differences between sources; Editorial revisions

issues: EE revisions , Accidentals in different octaves , GE revisions , Omission of current key accidentals , Errors of GC , Errors repeated in FE

b. 144

composition: Op. 22, Polonaise

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The sources are lacking in the  before a1 at the beginning of the 2nd triplet and before a3 at the end of the bar. It is a consequence of the then rule of validity of accidentals in an octave resulting from the notation, and not from the actual pitch. 

category imprint: Interpretations within context

issues: Accidentals in different octaves , Inaccuracies in FE

b. 144-146

composition: Op. 49, Fantaisie in F minor

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In the 2nd half of bar 144 and 146 there are no accidentals in A. Chopin was generally convinced that notes written at the same pitch do not require repeating accidentals regardless of the presence of an octave sign. The then contemporary rules were not fully established yet, which is proven by the fact that the notation was left unchanged in FE1. Eventually, however, both FE2 (→EE) and GE added all accidentals. Similarly, in further such passages.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in FE