mUltimate Chopin

Op. 16, Rondo in E♭ major

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Issues : GE revisions

b. 164-166

composition: Op. 16, Rondo in E♭ major

No marks in FE (→EE)

Staccato dot in bar 164 in GE

3 dots suggested by the editors
..

The bass notes are provided with staccato dots both in strictly analogous bars 156-158 and similar bars 152-154 and 160-162. In this situation, the absence of dots in the discussed bars must be considered an oversight, since there is no doubt that the places are to be performed in the same manner (cf. similarly structured bars 456-471 in the 3rd mov. of the Concerto in E Minor, Op. 11). In GE, only the first dot was added, in bar 164.

category imprint: Differences between sources; Editorial revisions

issues: Inaccuracies in GE , Inaccuracies in FE , GE revisions , EE inaccuracies

b. 168-172

composition: Op. 16, Rondo in E♭ major

cre - scen - do in FE (→EE)

cresc. in GE
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In the main text, we adopt the notation of crescendo of FE (→EE). In GE, the division into syllables and the dashes marking the range of the dynamic change were overlooked.

category imprint: Differences between sources

issues: GE revisions

b. 173

composition: Op. 16, Rondo in E♭ major

..

In FE (→EE1), there is no  restoring c3. The unquestionable oversight, probably repeated after [A], was corrected in GE and EE2 (→EE3).

category imprint: Differences between sources

issues: EE revisions , Errors in FE , Omissions to cancel alteration , GE revisions , Errors repeated in EE

b. 184-186

composition: Op. 16, Rondo in E♭ major

Dashes in FE (→EE)

No marks in FE
..

In GE, there are no dashes marking the range of crescendo, like in most of similar situations.

category imprint: Differences between sources

issues: Inaccuracies in GE , GE revisions

b. 185

composition: Op. 16, Rondo in E♭ major

B​​​​​​​ in FE (→EE1→EE2)

B in GE & EE3

B with ​​​​​​​ suggested by the editors
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In GE, a  raising B to B​​​​​​​ was added, most probably arbitrarily, before the bottom note of the 2nd crotchet. The reviser of EE3 also added that mark, probably under the influence of GE. However, we believe that the  is not authentic, since avoiding a strict repetition of a progression's segments is characteristic of Chopin, cf. e.g. a nearly identical harmonic sequence in the Rondo in F Major, Op. 5, bars 438-440. In order to avoid misunderstandings, we add a cautionary  in this place. 

category imprint: Differences between sources

issues: EE revisions , GE revisions