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b. 5
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composition: Op. 39, Scherzo in C♯ minor
..
In the main text we give the long accent, as can be seen in EE and GC. The placement and type of accent in FE (a short one above the L.H. minim) may have resulted from difficulties with deciphering the graphics of the hand-written base text. GE has the accent taken from GC and another one, above the minim c in the L.H. This is certainly a revision, one of many of that type. category imprint: Differences between sources issues: GE revisions |
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b. 5
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composition: Op. 39, Scherzo in C♯ minor
..
Missing from GC is the category imprint: Differences between sources issues: GE revisions , Inaccuracies in GC |
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b. 5-22
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composition: Op. 45, Prelude in C♯ minor
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The placement of category imprint: Differences between sources |
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b. 5-7
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composition: WN 17, Polonaise in B♭ major
..
Similarly as in bars 1-2, we consider the versions of JC and EF as a result of an erroneous reading of the autograph of the previous version of the Polonaise, [AI]. Cf. also the remark concerning bars 3-4. category imprint: Differences between sources |
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b. 5-6
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composition: WN 17, Polonaise in B♭ major
..
The accents in EF, as in analogous bars 1-2, are probably Fontana's additions. We propose to complete the dynamic hairpins and accents after the indications of PE in bars 1-2. We adopt a similar procedure in the case of the slurs embracing the motifs in the R.H. category imprint: Differences between sources; Editorial revisions |
lowering G
to G. The accidental was added in 
in 
