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b. 3-4
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composition: Op. 25 No 2, Etude in F minor
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In practice, the differences in the range of the dynamic hairpins, in spite of being quite significant, are of minimal influence on the interpretation of these signs. Lack of hairpins in AW may be a proof of Chopin's inadvertence rather than hesitation. category imprint: Differences between sources issues: Chopin's hesitations |
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b. 3
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composition: Op. 25 No 2, Etude in F minor
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Chopin hesitated whether to put cautionary flats before d category imprint: Differences between sources; Corrections & alterations issues: Chopin's hesitations , Cautionary accidentals , Deletions in A , Last key signature sign |
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b. 3
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composition: Op. 25 No 3, Etude in F major
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The missing accent in FE is probably a result of the engraver's or possibly copyist's oversight. It is also possible that Chopin himself, while completing and correcting the Stichvorlage manuscripts, omitted the base text to FE at the time of adding this sign. category imprint: Differences between sources |
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b. 3-4
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composition: Op. 26 No 2, Polonaise in E♭ minor
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The absence of pedalling marks in FE (→EE,GE1) is most probably an oversight of the engraver. The signs were added in GE2 (→GE3→GE4), probably on the basis of comparison with analogous places. category imprint: Differences between sources issues: Errors in FE , GE revisions |
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b. 3
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composition: Op. 26 No 1, Polonaise in C♯ minor
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In A Chopin wrote an unnecessary cautionary category imprint: Differences between sources issues: Cautionary accidentals |