Issues : Inaccuracies in A
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b. 276
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composition: Op. 21, Concerto in F minor, Mvt I
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Same as in analogous bar 128, in A there is no accidental before the crotchet in the middle voice. It must be an oversight, corrected already in GE1 (→FE→EE, →GE2). category imprint: Interpretations within context; Differences between sources issues: Omission of current key accidentals , Authentic corrections of GE , Last key signature sign , Inaccuracies in A |
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b. 278
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composition: Op. 21, Concerto in F minor, Mvt I
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Same as in bar 130, we consider that it is more likely that the accent refers to the L.H. category imprint: Graphic ambiguousness; Differences between sources issues: Long accents , EE inaccuracies , Inaccuracies in A |
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b. 287
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composition: Op. 2, Variations, complete
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In all sources, the dashes marking the range of the indication from bars 282-283 run continuously to the end of the tutti in bar 290. Except FE1 (→FE2), in which there is a simple octave sign, indicating that the given fragment is to be performed an octave higher, the notation seems to be simplified, since the chordal texture on the 3rd beat of bar 287 makes a performance with added octaves (con 8va) impossible. In the content transcriptions (the versions "edited text") and in the main text we specify this notation accordingly by inserting 8 on the 3rd beat of bar 287. One can also ponder whether Chopin wanted "con o in", which seems to have been added before a simple octave sign (8va¯ ¯ ¯) in A, to be understood as "in octaves" initially and "an octave higher" from the 3rd beat of bar 287. In other words, it would be a joint instruction on how to perform the entire tutti, and not a description of two possible performances of the first phrase. Chopin would then expect a common-sense approach from the performer, who would have to guess that first, as long as possible, it is con 8va that is valid, and then, from the 3rd beat of bar 287 – in 8va. However, such understanding is contested by the way the indication was used in the Fantasy on Polish Airs, Op. 13, bars 130-148, in a context that rules out such an interpretation – the entire theme, encompassed with the indication, is written there in single notes, hence there are no grounds to assign con 8va to one fragment and in 8va to another. category imprint: Interpretations within context; Source & stylistic information issues: Inaccuracies in GE , Inaccuracies in FE , EE inaccuracies , Inaccuracies in A |
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b. 287
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composition: Op. 2, Variations, complete
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The top notes of the chords on the 2nd beat of the bar, d1-f1, are written down in A (→GE→FE,FESB) on the top stave, as a result of which they came within range of the R.H. part octave sign. If they were to be included by the octave sign, it would be impossible to perform them with the L.H., which is clearly indicated by the stems and the beam shared with the f-b category imprint: Interpretations within context issues: EE revisions , Inaccuracies in A |
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b. 287-288
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composition: Op. 2, Variations, complete
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In AsI and A, accidentals were put only next to the top notes of the octaves – a category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |
fourths. The awkward notation most probably resulted from the initial version of this tutti, written down in 
to a