b. 2
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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GC has a G as the last quaver in the L.H. GE corrected this mistake, probably on the basis of comparison with the 1st half of the bar. category imprint: Interpretations within context; Differences between sources issues: GE revisions , Errors of GC |
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b. 2-5
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composition: Op. 35, Sonata in B♭ minor, Mvt III
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In GC bar 2 (the entire bar except for the slur) and bar 5 (part of the L.H.) are written in an abbreviated manner with a •/• sign. The notation is certainly repeated after [A]. Similar abbreviations appear also in bar 8 and 12-13. category imprint: Source & stylistic information issues: Abbreviated notation of A |
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b. 2
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composition: Op. 64 No 2, Waltz in C♯ minor
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In the previous autographs, Chopin tried varied versions of chords in this bar. Eventually, he used the original version only (with an a-c1 third) at the return of this phrase in bar 18. In both previous autographs, it is the absence of a raising a to a that draws attention. According to us, it is not a harmonic variant, yet an inaccuracy of notation, therefore, we consider a literal interpretation (without ) in these sources only a highly unlikely variant. category imprint: Differences between sources; Corrections & alterations |
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b. 2-3
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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According to us, out of two sources based directly on [A] – GC and FE – it is the copy that may convey a more accurate representation of this place in the autograph, since the text in FE is too tightly packed. category imprint: Differences between sources issues: Inaccuracies in GE , Scope of dynamic hairpins , Errors in GE , GE revisions |
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b. 2
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composition: Op. 21, Concerto in F minor, Mvt II
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In A there is no before the top note of the octave. This patent inaccuracy was corrected in GE (→FE→EE). category imprint: Interpretations within context; Differences between sources issues: Accidentals in different octaves , GE revisions , Inaccuracies in A |