b. 6-7
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composition: Op. 21, Concerto in F minor, Mvt I
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The slur of A, although unfinished in bar 7 on a new page, clearly leads to the crotchet at the beginning of the bar, which was not reproduced in the editions. The slur of the L.H., added in EE and GE2, is certainly inauthentic. category imprint: Differences between sources issues: EE revisions , Inaccurate slurs in A , GE revisions |
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b. 6
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composition: Op. 21, Concerto in F minor, Mvt I
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In the main text we omit the superfluous flats before the D-d octave. category imprint: Editorial revisions |
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b. 6
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composition: Op. 21, Concerto in F minor, Mvt III
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The dot over c3, present in GE1 (→FE→EE), could have been added by Chopin. According to us, however, an inaccuracy of the engraver is more likely; therefore, in the main text we adhere to the version of A. In GE2 the additional dot was omitted, whereas in EE3 two dots more were added to four dots of EE2, hence all quavers in this bar are provided with dots (probably by analogy with bar 330). category imprint: Differences between sources issues: EE revisions , GE revisions , Authentic corrections of GE |
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b. 6-18
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composition: Op. 19, Bolero
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The fingering in the entire EE is inauthentic, and it comes from the editor – on this page only for the R.H. in bars 6, 9 and 16-18. category imprint: Differences between sources issues: EE revisions |
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b. 6-7
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composition: Op. 21, Concerto in F minor, Mvt II
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The change of the range of the sign is certainly an inaccuracy of GE (→FE→EE). In A one can see that Chopin deleted the hairpin written over the part of the R.H., having the same range as in the editions. The new sign was written under the group of demisemiquavers introducing the theme and led further on, to the e3 minim. category imprint: Differences between sources; Corrections & alterations issues: Inaccuracies in GE , Corrections in A |