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b. 4-8
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composition: Op. 44, Polonaise in F♯ minor
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In the main text we suggest a phrase mark after the authentic one in analogous bars 263-267. The places were certainly not supposed to be performed differently. category imprint: Editorial revisions |
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b. 4-7
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composition: Op. 28 No. 24, Prelude in D minor
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As was the case with b. 3, the missing dynamic hairpin in FC (→GE) resulted from the inadvertence of the copyist, who overlooked the marks from the entire first line of A (b. 1-6) and b. 7 (in the case of b. 7, deciphering the mark in A is actually hampered by the crossings-out, clearly visible from the other side of the page). category imprint: Differences between sources issues: Errors of FC |
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b. 4-5
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composition: Op. 28 No. 23, Prelude in F major
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In FC the line ends in b. 4, and the slurs, both at the end of b. 4 and at the beginning of b. 5, indicate that the slur should be continued. In A the slurs between the lines also suggest a continuous slur; however, in the case of A the line ends earlier, already in the middle of b. 4. This was most probably the reason for the copyist's confusion: he did not pay attention to the difference in the layout while writing the slurs. category imprint: Differences between sources issues: Errors of FC |
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b. 4
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composition: Op. 28 No. 23, Prelude in F major
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Nothing indicates that the fingering in EE could have come from Chopin. category imprint: Differences between sources issues: EE revisions |
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b. 4-5
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composition: Op. 28 No. 23, Prelude in F major
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We give Chopin's fingering written into FED in the main text. However, nothing indicates that the fingering in EE could have come from Chopin. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FED |
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