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Issues : Authentic corrections of FC
b. 1
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composition: Op. 31, Scherzo in B♭ minor
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A is devoid of both the title and dedication (it seems that the aim of the pencilled addition at the top of the 1st page is to identify the manuscript for ordering purposes). In the main text we give them after the complete version of FC (→GE), free from mistakes. FE (→EE1→EE2) omitted the title of nobility of the dedication's addressee; there are also a few mistakes in her name and surname. Moreover, EE1 (→EE2) includes an additional, inauthentic title 'La Méditation.' The collective title page of EE3 omitted both that addition and the dedication; however, the Scherzo was marked as second. category imprint: Differences between sources issues: EE revisions , Errors in FE , Dedications , Errors in EE , Authentic corrections of FC |
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b. 2-4
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composition: Op. 25 No 4, Etude in A minor
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The pair of category imprint: Differences between sources issues: Scope of dynamic hairpins , GE revisions , Authentic corrections of FC |
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b. 5-13
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composition: Op. 30 No. 1, Mazurka in C minor
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The contrasting dynamic indications in bars 5, 9 and 13 were most probably added to FC by Chopin, as were many other markings (e.g. dynamic hairpins or accents). However, one has to emphasise that these marks, although their shape is the same as of some undoubtedly Chopinesque ones (e.g. category imprint: Differences between sources issues: Annotations in teaching copies , Annotations in FES , Authentic corrections of FC |
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b. 5-8
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composition: Op. 30 No. 4, Mazurka in C# minor
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In FE the pedalling of these bars is indicated in general terms with a category imprint: Differences between sources; Corrections & alterations |
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b. 6-8
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composition: Op. 25 No 4, Etude in A minor
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In the main text we give a pair of category imprint: Differences between sources issues: Authentic corrections of FC |