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b. 19

composition: Op. 22, Andante spianato

Wedge in FE (→GE1,EE)

Staccato dot in GE2 (→GE3)

..

The change of the wedge to a dot is a manifestation of a sui generis aversion of the engravers of GE to wedges, which were replaced with dots or omitted on a number of occasions (e.g. in b. 52 and in many places in the Polonaise).

category imprint: Differences between sources

issues: GE revisions

b. 20

composition: Op. 22, Andante spianato

..

In EE and GE3 a cautionary  was added before the g2 crotchet.

category imprint: Differences between sources

issues: EE revisions , GE revisions

b. 20

composition: Op. 22, Andante spianato

F-B in FE (→GE) & EE2

G-d in EE1

..

The version of EE1 must be a mistake of the engraver, corrected in EE2.

category imprint: Differences between sources

issues: EE revisions , Errors in EE

b. 27

composition: Op. 22, Andante spianato

(1  2) in FED, probable reading

(12) in FED, possible reading

No teaching fingering

Our alternative, variant suggestion

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The second of the Chopinesque fingering digits in FED is written between the 4th and 5th semiquavers, which results in two possibilities of interpretation. According to us, the use of the 2nd finger on the topmost note of this figure is more likely, which is confirmed by the authentic fingering of the Prelude in G Major, Op. 28 No. 3, b. 1 and the Etude in C Minor, Op. 10 No. 12, b. 9-10. Due to the above reason, in the main text we give that interpretation.

category imprint: Graphic ambiguousness; Differences between sources

issues: Annotations in teaching copies , Annotations in FED

b. 27

composition: Op. 22, Andante spianato

..

This is the first out of two places in which the graphical retouches in the latest impression of GE1, marked in our system as GE1a, contributed to a rhythmic mistake: the quaver flag next to g2 was overlooked. GE2 (→GE3) contains the correct text.

category imprint: Interpretations within context; Differences between sources

issues: Errors resulting from corrections , Errors in GE