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Issues : Omission of current key accidentals

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b. 274

composition: Op. 16, Rondo in E♭ major

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In FE (→EE1), there is no  raising a2 to a2. The error, obvious in this context, may have occurred already in [A]. The necessary accidental was added in GE and EE2 (→EE3). Similarly in bar 290.

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , GE revisions , Omission of current key accidentals , Errors repeated in EE

b. 274

composition: Op. 44, Polonaise in F♯ minor

No accidental (d) in GE & FE1

 (d) in FE2 & EE
..

According to us, the version with d resulted from Chopin having overlooked the  in [A] (→GE,[FC]→FE1). Therefore, in the main text we include the  added in FE2 and EE.

category imprint: Differences between sources

issues: Omission of current key accidentals , FE revisions

b. 274

composition: Op. 49, Fantaisie in F minor

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In the 2nd half of the bar Chopin overlooked in A the naturals raising a1 to a1 and f1 to f1. In the editions only the latter was corrected (both are patent inaccuracies).

category imprint: Interpretations within context; Differences between sources

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

b. 276

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

b. 277

composition: Op. 2, Variations, complete

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Neither AsI nor A (→GE→FE1,EE,FESB) include an accidental to the 7th semiquaver. The F major chord underlying this place is, however, thanks to the C7 chords present directly both before and after it, temporarily the tonic, which requires the use of e2, and not e2. This conclusion is also supported by bar 285 – in the orchestral version of this phrase all sources contain e2(3). The mistake, patent in this context, was, however, corrected only in the stage of proofreading FE2, probably at Chopin's request.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , GE revisions , Omission of current key accidentals , Authentic corrections of FE