



b. 5-8
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The slur over this four-bar section could have been added by Chopin in GC (→GE) or overlooked by the engraver of FE (→EE). It seems to be highly unlikely that Chopin intentionally removed this sign. category imprint: Differences between sources issues: Authentic corrections in GC |
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b. 5-6
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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According to us, the most likely explanation for the existing discrepancy between the sources based on [A] is the sometimes used by the engravers identification of two (or more) following
Due to this fact, in the main text we give the source and stylistically unquestionable indications of GC (→GE). category imprint: Interpretations within context; Differences between sources issues: FE revisions , Hairpins denoting continuation |
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b. 5-9
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composition: Op. 26 No 1, Polonaise in C♯ minor
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Both in bars 5 and 9 A does not include the category imprint: Interpretations within context; Differences between sources issues: Omissions to cancel alteration , Errors of A , Authentic corrections of FE |
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b. 5-6
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composition: Op. 64 No 2, Waltz in C♯ minor
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The absence of the category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 5-6
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composition: Op. 64 No 1, Waltz in D♭ major
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A comparison of the versions of As and AI allows to assume an intermediate stage, in which the melody in these bars already had the form written in AI, yet still without the four-bar introduction without accompaniment. In AI, the introduction, appearing for the first time, has a form of a preview of the actual beginning of the theme, which simply repeats the first three bars. In the final version, the entire "run-up," in which the four-quaver, ostinato figure develops, is moved to the introduction, which consequently organically combines with the theme, without any caesura. category imprint: Differences between sources; Corrections & alterations issues: Main-line changes |