Issues : Changed phrase length
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b. 1
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composition: Op. 25 No 1, Etude in A♭ major
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Lack of upbeat in AI is characteristic for the original versions – cf., e.g., the autograph of the first edition of the Mazurka in A category imprint: Differences between sources; Corrections & alterations issues: Main-line changes , Changed phrase length |
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b. 1
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composition: Op. 28 No. 4, Prelude in E minor
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In As one can see that the upbeat was added later. category imprint: Corrections & alterations; Source & stylistic information issues: Main-line changes , Changed phrase length |
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b. 1
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composition: Op. 28 No. 21, Prelude in B♭ major category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A , Changed phrase length |
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b. 5
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In GC the bars are separated with a double bar line, which is probably an arbitrary change introduced by the copyist (Chopin would rarely insert double bar lines, while changing the tempo or key, however, it was a commonly used practice). In GE the double bar line was arbitrarily changed to a repeat sign. It is not certain whether it is a revision or a mistake caused by a misinterpretation of the manuscript. The change, depriving the repetition of the exposition of its opening motif, was adopted in EE2 and in a vast majority of subsequent collective editions. In the main text we give a single line of FE (→EE1), which almost certainly corresponds to the notation of [A]. One can consider an addition of a slur in the L.H. in this place in the proofreading of FE3 to be another argument confirming the correctness of the text of FE – if Chopin had wanted to omit Grave at the repetition, he would have most probably noticed the absence of a repeat sign, necessary in this situation. category imprint: Differences between sources issues: GE revisions , Changed phrase length |
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b. 8
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composition: Op. 2, Variation IV, primitive version
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In AsI the first 8 bars are repeated, which is indicated by two versions (volte) of bar 8, out of which the first one constitutes a link between bar 7 and 1, while the other is a counterpart of bar 8 in A. There are no standard repeat signs; Chopin only placed a double bar line after bar 8 (1. volta) (in this manuscript all repetitions are marked in a way similar to this). category imprint: Differences between sources; Corrections & alterations issues: Changed phrase length |
major, Op. 7 No. 4 or the album autograph of the initial theme of the Nocturne in F minor, Op. 55 No. 1. 
