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. 11, Concerto in E minor, Mvt III
The traces of corrections visible in FE point to a Terzverschreibung error in the L.H., encompassing the entire 1st half of the bar – d
2-c2-b1. A similar mistake is present in GE1; however, the 1st quaver is placed at the right pitch. How could this have come about? There are a few possibilities:
- In FE, the place was proofread in two stages – first, it was only the initial quaver that was corrected, which passed to GE1, whereas both semiquavers were corrected only just in the last proofreading.
- In FE, the mistake was corrected straight away, while GE1 committed an independent Terzverschreibung error, encompassing both semiquavers.
- The mistake in FE was corrected only just in the last phase of proofreading, yet in GE1 it was only the semiquavers that were reproduced in accordance with the base text (i.e. erroneously), while the quaver was placed at the right pitch (an incomplete revision or a mistake).
Due to the parallel movement of both hands, the correct text is unquestionable, hence it is already GE2 (→GE3) that includes the correct text.
Compare the passage in the sources »
category imprint: Differences between sources; Source & stylistic information
issues: Errors in FE, Terzverschreibung error, GE revisions, Authentic corrections of FE, Errors repeated in GE
notation: Pitch
