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Issues : Errors in EE

b. 7-8

composition: Op. 25 No 6, Etude in G♯ minor

No accidentals in FC (→GE1), FE & EE

Naturals in GE2 (→GE3)

Naturals suggested by the editors
..

In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a2. However, there are strong grounds, both source (proved also in other pieces Chopin's doubts concerning the notation of a/a notes in the G minor key) and stylistic (natural harmonic passage), for considering it as Chopin's mistake. Therefore, in the main text we suggest to add naturals to achieve the sound of a2.

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

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC

b. 7

composition: Op. 26 No 1, Polonaise in C♯ minor

Quaver in A

Crotchet in FE (→GE1,EE), 1st instance only

Crotchet in GE2 (→GE3→GE4→GE5)
..

Chopin added a crotchet stem in the L.H. to the g quaver in the proofreading of FE1. The absence of this correction in the analogous bar in the written repetition in the editions most probably results from Chopin's oversight. We directly include this minor improvement in the main text, which corresponds to both analogous bars in the first editions. An addition was respectively performed in the bar being a repetition of bar 7 also in GE2 (→GE3→GE4→GE5).

category imprint: Differences between sources; Corrections & alterations

issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Accompaniment changes , Authentic corrections of FE , Omitted correction of an analogous place

b. 7-8

composition: Op. 25 No 8, Etude in D♭ major

..

In A, FE and EE1 there is no cancellation of a few previously raised notes in chromatic passages:

  • in A and FE there is no  returning f2 at the end of bar 7 and two flats in bar 8 – returning a2 in the 8th sixth and e3 in the 10th sixth;
  • EE is missing the above three and flats returning g2 in the 10th sixth and d3 in the 12th sixth in bar 8.

The remaining editions introduced additions to these patent oversights (some of all):

  • GE1 added the  returning a2 in the 8th sixth in bar 8, while GE2 (→GE3) also the rest of the overlooked signs;
  • EE2 (→EE3) added the flats returning a2 in the 8th sixth, g2 in the 10th sixth and d3 in the 12th sixth in bar 8, which resulted in the same text as in GE1.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors in FE , Errors in EE , Omissions to cancel alteration , Errors in GE , GE revisions , Errors of A

b. 7-8

composition: Op. 22, Polonaise

in FE

No sign in EE

in GE1

in GE2 (→GE3)
..

The missing  in EE is probably an oversight, although it is likely that the hairpin was intentionally omitted as supposedly superfluous along with cresc. The shift of the mark in GE1 could be considered an inaccuracy, yet its extension in GE2 (→GE3) was almost certainly intentional – attempts were made to bring the beginning of the hairpin towards the 1st quaver.  

category imprint: Differences between sources

issues: Errors in EE , GE revisions

b. 7-9

composition: Op. 28 No. 3, Prelude in G major

No fingering in FCI & A (→FC→GE, →FE)

Fingering in EE
..

Nothing indicates that the fingering of EE could be authentic. What is more, a mistake was most probably committed in b. 8 – in the middle of the bar, the b-a notes should be, apparently, played with the fingers 2-1, as they were in the previous bar, in an analogous place. In the copied fingering, it is, however, impossible to reach d at the beginning of the 4th group without crossing the fingers, which should have been marked.

category imprint: Differences between sources

issues: EE revisions , Errors in EE