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b. 4

composition: (Op. 4), Sonata in C minor, Mvt I

No marking in A (→GE→FE,EE1,IE)

in EE2
..

The fact that the EE2 reviser added an indication cancelling the formally applicable  is justified, since  is most probably a mistake here – see the previous note. According to us, one should probably refer here to the dynamics at the beginning of the Sonata's first phrase, that is . The indication added by EE2 is a compromise solution and does not represent typical Chopinesque dynamic markings – the composer would generally mark the dynamics between  and  as m.v. (mezza voce).

category imprint: Differences between sources

issues: EE revisions

b. 4-6

composition: (Op. 4), Sonata in C minor, Mvt IV

..

It is unclear how to understand the combination of the ties between the d1 notes in bars 4-5 and the c1 notes in bars 5-6 and the arpeggio marks preceding the chords at the beginning of bar 5 and 6, since the markings seem contradictory. There are two possibilities:

  • one can consider the ties to be slurs and play the entire chords as arpeggios, repeating the aforementioned notes;
  • one can reduce the range of the arpeggios to the two bottom notes of the discussed chords, holding the topmost note.

category imprint: Source & stylistic information

issues: Tie or slur

b. 4

composition: (Op. 4), Sonata in C minor, Mvt IV

..

EE mistakenly has g3 as the last quaver.

category imprint: Interpretations within context; Differences between sources

issues: Errors in EE

b. 5-6

composition: Op. 29, Impromptu in A♭ major

 
 
..

GE introduced arbitrary changes into quaver ties.

category imprint: Differences between sources

issues: GE revisions

b. 5

composition: Op. 29, Impromptu in A♭ major

 
 
 
..

In A the end of tie reaches the next bar. We consider it to be an inaccuracy of notation due to the obvious phrase structure and consistent slurring in almost each out of 11 analogous bars.

category imprint: Graphic ambiguousness

issues: Dedications , Inaccurate slurs in A