Issues : Inaccuracies in A
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b. 8
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composition: Op. 28 No. 18, Prelude in F minor
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In A (→FE), Chopin wrote only a category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Fontana's revisions , Inaccuracies in A , Errors repeated in FE |
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b. 8-16
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composition: Op. 23, Ballade in G minor
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In A, the 5 accents at the beginning of the R.H. quaver figures are of different length – the shortest are in b. 10 and 12, while the longest – in b. 14 and 16. However, all of them are provided with a slender shape, typical of long accents. As there is no reason to differentiate between the accents (and the last two are undoubtedly long), we interpret all of them as long; this is also the shape in which we give them in the main text. In FE, it is only the last accent that is clearly longer (in b. 16); in the remaining editions the marks were standardised as common short accents. The issue of distinguishing between those two types of accents, not always possible to unequivocally decide, is present throughout the entire Ballade and is also to be found in many other works by Chopin. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , Inaccuracies in A |
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b. 9
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composition: Op. 10 No 11, Etude in E♭ major
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The omission of arpeggios in A (→FE) is probably a preview of the transition to the abbreviated notation used in subsequent bars. There is no doubt that Chopin did not want to change the notation here, not to mention the performance. category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in A |
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b. 9
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composition: Op. 10 No 11, Etude in E♭ major
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Lack of category imprint: Differences between sources issues: Authentic corrections of FE , Inaccuracies in A |
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b. 9-41
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composition: Op. 31, Scherzo in B♭ minor
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It is unclear whether the staccato markings with which Chopin provided the R.H. chords in b. 9, 17 and 33 (the missing marking in bar 41 must be an oversight, since it is the first bar on a new page of A) should be interpreted as wedges or dots. The ambiguity is confirmed by the sources based directly on A: the copyist interpreted those markings as dots, whereas the engraver of FE – as wedges. According to us, there are more arguments in favour of wedges, which we thereby suggest in the main text. The dot added in FE in bar 41 may come from Chopin, yet in this case it is also unclear whether the engraver interpreted Chopin's proof entry correctly. An identical addition introduced in GE cannot be authentic. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: GE revisions , Authentic corrections of FE , Wedges , Inaccuracies in A |
restoring e
2 (in the R.H. part). The corresponding sign in the L.H. part was added in 
in 
