mUltimate Chopin

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Issues : Errors repeated in FE

b. 1

composition: Op. 21, Concerto in F minor, Mvt I

in A

in GE (→FE→EE)
..

Change of the time signature from  to  is one of the most characteristic inaccuracies of first editions of Chopin's works – see e.g. the Sonata in B minor, Op. 35, 1st mov., bar 1.

category imprint: Differences between sources

issues: Errors in GE , 4/4 or 2/2 , Errors repeated in FE , Errors repeated in EE

b. 1-4

composition: Op. 28 No. 8, Prelude in F♯ minor

..

In the figurations featuring the interval of an octave, Chopin would often be satisfied with an accidental placed only next to the first note constituting that interval (cf., e.g. the Etude in A Major, Op. 10 No. 10, b. 5-8 or the Ballade in F Major, Op. 38, b. 48). In the Prelude in F Minor, such an extended validity of accidentals is a strictly observed rule – accidentals are absent even in the places where they are necessary to cancel the previous alteration (e.g. on the 2nd demisemiquaver on the 3rd beat of b. 4), while in b. 8 Chopin actually crossed out the necessary accidental next to the 2nd demisemiquaver in the 3rd figure. In the discussed bars, apart from the situation in b. 4 mentioned above, the problem concerns the 8th demisemiquaver in the 3rd group in b. 1-2 and 4, the 8th demisemiquaver in the 1st, 2nd and 4th groups in b. 3 and the 2nd demisemiquaver on the 3rd beat of b. 3. Such a notation is to be found in A (→FC,FE→EE1), whereas EE2, GE1 and GE2 added the majority of the necessary accidentals (5, 6 and 7 out of the eight necessary, respectively).
The L.H. quavers falling an octave lower than the first semiquaver of a given figure provided with an accidental are written down in a similar way, without the necessary accidentals – see b. 3-4.  

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE , Errors repeated in EE

b. 3-4

composition: Op. 28 No. 8, Prelude in F♯ minor

..

As was the case in the R.H. part, in A Chopin omits accidentals next to the quavers ending the four-note L.H. figures if they fall an octave lower than one of the preceding semiquavers. In the discussed bars, such a notation was repeated without changes in FC and FE1. Both necessary naturals – before g in b. 3 and f in b. 4 – were added in EE and GE2, whereas in the remaining editions only one natural was added, in GE1 in b. 3, while in FE2 in b. 4.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , FE revisions , Inaccuracies in A , Errors repeated in GE , Errors repeated in FE

b. 3

composition: Op. 28 No. 22, Prelude in G minor

..

In A (→FE) there is no  raising f1 to f1. The manifest inadvertence was rectified in FC (→GE) and EE.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Errors of A , Fontana's revisions , Errors repeated in FE

b. 3-11

composition: Op. 28 No. 19, Prelude in E♭ major

..

In A (→FC,FE), there are no naturals raising b to b in b. 3 and 11. Similar inaccuracies in the notation of notes separated by an octave are often to be found in the Preludes; in this one and in some others, they are even a rule – cf. e.g. the Prelude in F Minor No. 8, b. 1-4. The accidentals were added in GE and EE.
Similarly in b. 35.

category imprint: Interpretations within context; Differences between sources

issues: EE revisions , Accidentals in different octaves , GE revisions , Inaccuracies in A , Errors repeated in FE