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b. 7-8
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composition: WN 55, Waltz in F minor
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In F, the lowest voice in the L.H. descends until B category imprint: Interpretations within context; Differences between sources |
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b. 7
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composition: WN 55, Waltz in F minor
category imprint: Differences between sources |
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b. 7
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composition: Op. 43, Tarantella
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In GE1, most probably due to an inaccuracy there is no category imprint: Interpretations within context; Differences between sources issues: Inaccuracies in GE |
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b. 7-8
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composition: Op. 43, Tarantella
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Slurs in GE and EE are certainly imprecise. This may have resulted from unclear notation of slurs in Fontana’s copies serving as the basis for these editions (where e.g. b. 7 was the last in the first line of the text. However, the way slurs are noted in A leaves no room for doubt as for Chopin’s intention in this place. category imprint: Differences between sources issues: EE revisions , GE revisions , Inaccuracies in FC |
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b. 7-8
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composition: Op. 24 No. 4, Mazurka in B♭ minor
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The slur in those bars is evident in A (→GE1) and provokes no stylistic doubts. The change made in GE2 (→GE3) by analogy with bars 5-6 and 9-10, where the notation of A is not that clear, misses - in our opinion - Chopin's intention. The absence of the slur in FE (→EE) is doubtless a mistake. category imprint: Differences between sources issues: Errors in FE , GE revisions |
1. The stylistic authenticity of such a solution is questionable - it is continued neither in the next phrase nor in the further course of the piece. Enhancing or lowering the bass line was one of Fontana's most frequent interferences in the works by Chopin he edited.
