Issues : Inaccuracies in GC
|
b. 51-56
|
composition: Op. 39, Scherzo in C♯ minor
..
The slur of GC is evidently imprecise here – its right end reaches the end of bar 56 (in GE it ends above the 1st crotchet). This suggests that the left slur end may also be shifted to the right. For our main text we choose the concordant and unquestionable version of EE and FE. category imprint: Differences between sources issues: Inaccuracies in GC |
||||||||
|
b. 53-58
|
composition: Op. 25 No 3, Etude in F major
..
Same as in bars 49-52, the simplest explanation of the difference in the staccato signs between GC (→GE) and FE and EE is Gutmann's misunderstanding of the notation of [A]. Similarly in bars 60-64. category imprint: Differences between sources issues: Wedges , Inaccuracies in GC |
||||||||
|
b. 53
|
composition: Op. 35, Sonata in B♭ minor, Mvt IV
..
In GC and FE1 there is no category imprint: Differences between sources issues: Inaccuracies in FE , GE revisions , FE revisions , Inaccuracies in GC |
||||||||
|
b. 55-56
|
composition: Op. 25 No 11, Etude in A minor
..
The slur of GC in bar 55 begins just after the 1st crotchet, hence beginning the slur in GE from this crotchet is not surprising. However, in bar 56 the slur of GC, corrected by Chopin, starts undoubtedly from the 2nd quaver, which was, however, ignored in GE. Both FE and EE show that in both bars the slur should certainly begin from the 2nd crotchet. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in GC |
||||||||
|
b. 55-56
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
In the main text we give a category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in FE , No pedal release mark , Inaccuracies in GC , Authentic corrections of EE |
restoring d
2 (it is, however, included in the L.H.). This mistake, repeated after [A], was corrected in 
in