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 III
In A there is not any 
raising e
2(3,4) to e2(3,4). It is almost certainly Chopin's mistake – if he were to hear e in this place, he would have used a cautionary flat in this context. The composer also omitted the naturals raising d1(2) to d1(2), which clearly proves that the figures (whose sound, written after so many repetitions, he regarded as obvious) were written hastily and inaccurately. Anyway, the naturals (e2, d2 and e4) added in the proofreading of GE1 (→FE→EE, →GE2) and uncontested by the composer both in FE and FED clearly prove his intention. In EE, naturals were added also next to d1 and d4, whereas in GE2 – next to e3.
Compare the passage in the sources »
category imprint: Interpretations within context; Differences between sources
issues: EE revisions, GE revisions, Omission of current key accidentals, Errors of A, Authentic corrections of GE
notation: Pitch
