Graphic ambiguousness
Interpretations within context
Differences between sources
Editorial revisions
Corrections & alterations
Source & stylistic information
Articulation, Accents, Hairpins
Verbal indications
Shorthand & other

b. 1

composition: Op. 22, Andante spianato

 = 69 in FE (→GE,EE), literal reading

 = 69 in FE (→GE,EE), contextual interpretation

= 63 in FED, literal reading

 = 63, contextual interpretation

 = 69 (63), our variant suggestion


The missing dot extending the crotchet in the metronome marking in the editions is most probably a mistake. The dot is also imperceptible on the photo of FED, which – provided it is a faithful reflection of the situation – is also an inaccuracy. The slightly calmer tempo indicated by Chopin in FED could have been a teaching comment directed to Miss O'Méara only, hence it cannot be considered a proof of modification of the tempo concept of Andante. Therefore, in the main text we suggest a variant solution.

category imprint: Differences between sources; Editorial revisions

issues: Annotations in teaching copies , Errors in FE , Annotations in FED

b. 5

composition: Op. 22, Andante spianato

Fingering written into FED

No teaching fingering


In the main text we include the fingering digit, coming from Chopin, entered into FED. There are similar situations in the further course of Andante, in b. 17, 27, 29, 36 and 41. At the end of the bar in FED one can see a vague diagonal line: it could have been, e.g. a mark separating e2 from f2, in accordance with the printed slurring, or an asemantic trace of gesticulation focusing the pupil's attention on the discussed interpretative problem.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 8-16

composition: Op. 22, Andante spianato

Long accents in FE (→GE1), contextual interpretation

Short accents in EE & GE2 (→GE3)


We reproduce the accents in b. 8, 11 and 16 as long ones, although the marks in FE cannot be unequivocally classified as long or short accents (however, they are clearly longer than the accents in b. 52 or 55-62). Long accents are strongly supported by the musical context: the accentuated e3 in b. 8 is the longest and top-most note of the 8-bar phrase, while the syncopated c3 in b. 11 is a similar type of climax of the final melodic section of this phrase. We encounter a similar problem in the evaluation of the accents in GE1: it is only the clearly shorter marks in b. 52 (as well as a greater number thereof in the Polonaise) that convince us to consider them long. The marks in EE and GE2 (→GE3) must be short.

category imprint: Graphic ambiguousness; Differences between sources

issues: Long accents , Inaccuracies in GE , EE inaccuracies

b. 10-11

composition: Op. 22, Andante spianato

Slur from g2 in FE (→GE)

Slur from f2 in EE


It is unclear how the difference between FE and EE occurred. The shape of the slur in FE indicates its possible proofreading, yet there are no visible traces that would allow us to guess the original version. It could have been the longer slur of EE; however, it is likely that the slur of EE is unrelated to the proofreading of FE and is a result of a mistake or revision.

category imprint: Differences between sources

issues: EE inaccuracies , Authentic corrections of FE

b. 11

composition: Op. 22, Andante spianato


In the main text we omit the superfluous cautionary  before the 3rd semiquaver, f, present in all sources.

category imprint: Editorial revisions

issues: Cautionary accidentals , Last key signature sign