Op. 2, Variations in B♭ major
Op. 10, 12 Etudes
Op. 11, Concerto in E minor
Op. 21, Concerto in F minor
Op. 22, Polonaise in E♭ major
Op. 24, 4 Mazurkas
Op. 25, 12 Etudes
Op. 26, 2 Polonaises
Op. 27, 2 Nocturnes
Op. 28, 24 Preludes
Op. 30, 4 Mazurkas
Op. 35, Sonata in B♭ minor
Op. 50, 3 Mazurkas
Op. 63, 3 Mazurkas
Op. 64, 3 Waltzes
Op. 21, Concerto in F minor, Mvt II
The notation of accidentals is less careful in this bar. The oversight of the 
lowering g to g
in the group of 9 notes in the L.H. in A is a patent mistake; the sign was already added in GE1 (→GE2,FE→EE). In some of the sources, the missing before the 2nd note in the L.H. on the 4th beat of the bar results from a different convention of accidentals' validity – in A Chopin deleted this sign, considering the before the crotchet on the 3rd beat to be valid. In turn, the absence of flats lowering g1(2) to g1(2) on the 4th beat in A (→GE→FE) is a patent oversight – the fact that Chopin must have heard the g here is supported by the notes' uninterrupted presence from the end of bar 57 and by the use of cautionary naturals before G and g at the beginning of bar 64. It is only EE that includes the fully correct notation, consistent with the contemporary conventions.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources; Corrections & alterations
issues: EE revisions, Corrections in A, GE revisions, Omission of current key accidentals, Last key signature sign
notation: Pitch
