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. 28 No. 16, Prelude in B♭ minor
The fragment of the figuration from the 2nd to the 13th semiquaver is actually a repetition (an octave higher) of a respective fragment of the preceding bar (from the 6th semiquaver). The only difference is the 1st semiquaver in the 3rd group of that bar, f3, in relation to f
2 in b. 22. Many editors of subsequent collective editions considered it to be Chopin's mistake and changed f3 to f3. According to us, there are not enough reasons for such a change:
- in a similar figuration in b. 4-5 the sequence of intervals in b. 4 is completely different than in b. 5, which shows that Chopin did not strive for a strict repetition of the intervals used an octave lower;
- the initial version of b. 22 contained more differences, since the 5th, 7th, 8th and 10th semiquavers were written half a tone lower;
- Chopin's possible oversight would concern two accidentals – the
before f3 at the beginning of the 3rd group of semiquavers and the 
restoring f3 at the end, which reduces the chances of mistake.
Compare the passage in the sources »
category imprint: Source & stylistic information
notation: Pitch
