b. 4
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composition: Op. 43, Tarantella
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In A, FC3 (→FE→IE), EE and GE1 there is no extending dot on minim c1 on the first beat of RH but the dot apears upon the theme’s repetition in corresponding b. 180, which allows us to assume with great probability that b.4 is inaccurate. The relevant revision was already made in GE2 (→GE3→GE4). category imprint: Interpretations within context; Differences between sources issues: Rhythmic errors , Errors of A |
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b. 4
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composition: Op. 27 No 2, Nocturne in D♭ major
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In EE, a long accent was added under b flat2, probably on the basis of the sign visible in FE in analogous bar 28. category imprint: Differences between sources issues: EE revisions |
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b. 4-5
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composition: Op. 27 No 2, Nocturne in D♭ major
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The extent of the slur is not precisely marked in A. In GE (→FE→EE) the slur was read as ending in bar 4. In our opinion, it is more probable that Chopin intended it to reach the beginning of bar 5 (cf. the remark at the end of bar 2). category imprint: Graphic ambiguousness; Differences between sources issues: Inaccurate slurs in A |
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b. 4
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composition: WN 55, Waltz in F minor
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In all autographs and copies, there are three quaver grace notes. The grace notes written in semiquavers in F come from Fontana and they are not confirmed by the autographs. category imprint: Differences between sources |
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b. 4
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composition: WN 55, Waltz in F minor
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In AG, the text of the chord on the 2nd beat in the L.H. is ambiguous. Most probably, it lacks in c1, while the dash visible in this place results from "restarting" the pen, which - by analysing the entire autograph - would often leave two thin dashes and a blank space between them instead of a homogenous, full dash. Chopin may have automatically written two dashes in this place, trying to "restart" the pen with quick movements. category imprint: Graphic ambiguousness; Differences between sources |