



b. 4-5
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composition: Op. 25 No 10, Etude in B minor
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In GC both the end of the slur in bar 4 (at the end of the line) and the beginning of the slur in bar 5, starting the new line, are written with such an extensive movement that they can be interpreted as one slur. According to us, it is, however, more likely that Chopin wanted to emphasise the beginning of the theme with a new slur. category imprint: Graphic ambiguousness; Differences between sources issues: GE revisions , Inaccuracies in GC |
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b. 4
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composition: Op. 25 No 9, Etude in G♭ major category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
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b. 4-5
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The slur over the part of the L.H. is undoubtedly a Chopin addition introduced in the proofreading of FE3 (→FE4). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 4
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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FE (except for FE4) lacks in five necessary accidentals – naturals before d2 and b and sharps before f category imprint: Interpretations within context; Differences between sources issues: EE revisions , Accidentals in different octaves , Inaccuracies in GE , Inaccuracies in FE , GE revisions , Omission of current key accidentals , FE revisions , Inaccuracies in GC , Authentic corrections in GC |
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b. 4-5
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composition: Op. 35, Sonata in B♭ minor, Mvt IV
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The fingering, added in pencil, most probably by Miss O'Méara, could have been indicated to her by Chopin. According to us, the numeral under the last quaver in bar 4 can be interpreted in two ways – as '4' or as '1'. category imprint: Graphic ambiguousness; Differences between sources |