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Issues : FE revisions

b. 257

composition: Op. 2, Variations, complete

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In A there are no accidentals to the 2nd and 3rd R.H. chords. The missing accidentals were gradually added by the subsequent editions – in GE1 (→GE2) both accidentals to the 2nd chord were added, while in EE1 a  to the 3rd chord was also added (a  was not necessary due to the wrong pitch of the topmost note). The remaining editions – FE, EE3 and GE3 – include all the necessary accidentals.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Authentic corrections of FE , FE revisions , Inaccuracies in A

b. 259

composition: Op. 39, Scherzo in C♯ minor

D1 in EE & GC (→GE)

E1-D in FE1

Octave as a supposed FE1 version

D1-D in FE2
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The seventh E1-D, written in two-part notation, is definitely an error of FE1 probably resulting from carelessly done proofing. We give the octave D1-D as the intended version of that edition, which results in a version analogous to bar 243. It is not entirely unlikely that the correction was only meant to be done for the D1 note alone, just like in the remaining sources. In FE2, E1 was changed to D1.

category imprint: Differences between sources

issues: Errors in FE , FE revisions

b. 259-261

composition: Op. 23, Ballade in G minor

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In the case of five L.H. octaves, Chopin put an accidental only to one of the notes in A. The following accidentals are missing:  (E) and  (f) in b. 259;  (F) in b. 260;  (C) and  (B1) in b. 261. All the missing accidentals were added by FE (→GE,EE); nevertheless, GE1a once again overlooked the  (E) in b. 259.

category imprint: Interpretations within context; Differences between sources

issues: Accidentals in different octaves , FE revisions , Inaccuracies in A

b. 259

composition: Op. 2, Variations, complete

e2 together with f1 in AsI, Af & A (→GE→FESB)

e2 after f1 in FE & EE
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The version of notation of FE and EE, in which the semiquaver of the top voice was placed after the 3rd quaver of the triplet in the remaining voices, is contrary to the Chopinesque understanding of this combination of rhythms – see bars 45-46. Interestingly, the engraver of FE consistently forced his version of notation (contrary to the basis), whereas the engraver of EE decided to depart from the basis only here.

category imprint: Differences between sources

issues: EE revisions , FE revisions

b. 263-264

composition: Op. 31, Scherzo in B♭ minor

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Just like in b. 131-132, in the main text we keep the notation of the bars filled with rests, used by Chopin in A (→FC) and applied in GE2 too. The changes introduced in the remaining editions, i.e. replacing both bars with one double bar in FE (→EE) and providing the rests with digits, cannot come from Chopin.

category imprint: Differences between sources

issues: GE revisions , FE revisions