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Issues : Terzverschreibung error

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b. 22

composition: Op. 10 No 1, Etude in C major

..

CLI has b2 as the 4th semiquaver in the R.H., which results from the logic of the figuration's structure. In FE1 there is a d3, put here by mistake and corrected by Chopin in a proofreading of FE2 (→EE) for b2. The erroneous note must have initially been present also in GE1, which is confirmed by visible traces of its deletion, however, eventually GE1 and all subsequent editions of GE also feature b2.

 

category imprint: Interpretations within context; Differences between sources

issues: Errors in FE , Terzverschreibung error , GE revisions , Authentic corrections of FE , Authentic corrections of GE

b. 22

composition: Op. 28 No. 13, Prelude in F♯ major

c-g in A (→FE,FC→GE)

e-g in EE
..

The EE version is presumably a Terzverschreibung although it is possible that the engraver mistook the endings of the two halves of bar and put the 11th quaver here.

category imprint: Differences between sources

issues: Errors in EE , Terzverschreibung error

b. 23

composition: Op. 27 No 2, Nocturne in D♭ major

B in A, FE (→EE), GET and GE2

d in GE1
..

GE1 has d instead of B as the 1st note of the 2nd half of the bar. The mistake was corrected in FE (→EE), as well as in GE2. The correction was also made in GET.

category imprint: Differences between sources

issues: Annotations in teaching copies , Errors in GE , Terzverschreibung error , Annotations in GET

b. 23

composition: Op. 11, Concerto in E minor, Mvt II

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The traces of changes to print, visible in FE, prove that the grace note was initially printed – most probably by mistake – at the pitch of f1.

category imprint: Source & stylistic information

issues: Terzverschreibung error , Authentic corrections of FE

b. 24

composition: Op. 10 No 5, Etude in G♭ major

e3 in A (→FE→GE,EE)

g3 in FES
..

According to us, the change of e3 to g3 written by Chopin in FES is a correction of the error of A and the remaining sources. Locally, the version with e3 – in bars 23-24 – is perfectly correct, yet in combination with the following bar, the note does not find a natural continuation (to d3), and, what is more important, it significantly weakens the effect of the constant g3 note, being an axis of the combination of chords in bars 24 and 25. In addition, Chopin's fingering in this place suggests a more significant distance than a fifth.  

category imprint: Interpretations within context; Differences between sources

issues: Terzverschreibung error , Errors in the number of ledger lines , Errors of A