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. 17, Prelude in A♭ major
In FCI the L.H. part in b. 65 clearly differs from the final version; however, it is important to mention that the interpretation of the 2nd and 3rd quavers is uncertain due to the poor quality of the photograph available to the mUltimate Chopin editors. The uncertainty concerns the pitch of the top notes, which we interpret as c1, since they are placed on a ledger line. However, we cannot rule out a possibility of them having been corrected, perhaps to b
. The interpretation of the spots under the beam is also uncertain (one could see A noteheads in them). Such a placement of noteheads with respect to the beam is not used in a regular notation; however, it could have been created as a result of those notes having been added. On the other hand, they can also be smudges of the ink at the intersection of the stems and the beam.
In the 2nd half of the bar, there are 3 e-b-e1 chords in FCI. Small differences are also to be found in the R.H. – d1 is already on the 4th quaver in b. 65, while the bottom voice at the beginning of b. 66 is devoid of the c1 quaver.
Compare the passage in the sources »
category imprint: Graphic ambiguousness; Differences between sources; Corrections & alterations
issues: Accompaniment changes
notation: Pitch
