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b. 3
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composition: WN 17, Polonaise in B♭ major
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Using a chord without third at the beginning of the bar, as it is both in JC and in EF, raises doubts as to the correctness of Chopin's notation reading in [AI]. However, even if that version was intended by Chopin in any stage, later it was replaced by the musically smoother version of PE. category imprint: Differences between sources |
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b. 3
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composition: WN 17, Polonaise in B♭ major
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The version of JC and EF, with a clearly audible doubled leading note B-b on the 5th quaver of the bar, is undoubtedly earlier. It is difficult to determine how the difference concerning sustaining the g note at the transition between bars 3 and 4 was developed. In PE, the lower note of the last semiquaver was printed on the level of c1, which is certainly a mistake corrected by us into d1. category imprint: Differences between sources issues: Main-line changes |
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b. 3
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composition: Op. 10 No 1, Etude in C major
category imprint: Differences between sources issues: Errors of CLI |
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b. 3
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composition: Op. 10 No 1, Etude in C major
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The fingering given in the main text, drawn from FE (→GE), is certainly authentic. In EE it was completed with digits added by Fontana, which, in this case, describes an alternative fingering. category imprint: Differences between sources issues: EE revisions |
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b. 3-4
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composition: Op. 10 No 2, Etude in A minor
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In Ap the rhythmic values of subsequent two-note chords of the lower voice in the R.H. create in those bars (as well as in subsequent repetitions) an alternating short-long scheme (semiquaver-crotchet). Sometimes the resounding length contrast is additionally underlined with accents. In the main text we give the homogenous, as far as the sound is concerned, version of FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Accompaniment changes |
1-B
