Issues : Authentic corrections of EE
b. 231
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composition: Op. 42, Waltz in A♭ major
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On the 2nd crotchet FE0 (→FE,FEG→GE1) has an undoubtedly erroneous e-a-d1 chord. Its correct sound, with the middle component being a b instead of a, may be established by comparing it with analogous bar 247. This version is included in EE, perhaps on the basis of Chopin proofreading of the base text, as well as in GE2 (→GE3). category imprint: Interpretations within context; Differences between sources issues: Errors in FE , Authentic corrections of EE |
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b. 232-234
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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The version of FE is most probably accidental – the engraver forgot about the dashes in the new line of the text. The addition in EE may come from Chopin, although it cannot be excluded that according to Chopin, the crescendo was supposed to be led until in bar 239. category imprint: Differences between sources issues: Authentic corrections of EE |
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b. 233-237
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Same as in bars 45-49, in the main text we give cresc. - - added probably by Chopin in the base text to EE. category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of EE |
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b. 234-237
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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In the main text we suggest a version based on additions introduced most probably by Chopin in the base text to EE1. We adopt the placement and type of the used accents, which in EE could have been recreated inaccurately, from the undoubtedly authentic notation of the previous version of GC (→GE). category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Long accents , EE inaccuracies , Authentic corrections of EE |
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b. 237
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composition: Op. 42, Waltz in A♭ major
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It is not clear what Chopin wanted to underline with the mark: a sudden change of the chord at the beginning of the bar or the signal chord motif after the rest. The first possibility is suggested by the composer's entry in FEG (which was, after all, not included in GE) and the notation of EE, while the second one – by the notation of FE. It must be emphasised that even the fact of writing this mark under the rests, as it is in FE, does not exclude its validity from the beginning of the bar (possible examples of using such a manner – the Etude in C major, Op. 10 No. 1, bar 45 or in G, Op. 10 No. 5, bars 34-35). category imprint: Interpretations within context; Differences between sources; Corrections & alterations issues: Errors in GE , Authentic corrections of FE , Authentic corrections of GE , Centrally placed marks , Authentic corrections of EE |