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b. 102
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composition: (Op. 4), Sonata in C minor, Mvt I
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The staccato dots probably represent the initial version of articulation of these crotchets, which Chopin replaced with slurs. It is indicated by the A notation in bar 104, in which the dots over the 2nd and 3rd crotchet were overwritten with a slur (leaving the dot over the 4th crotchet must be considered an oversight in this situation). In the discussed bar all 3 dots present along with slurs remained unremoved, hence in the main text we provide them in a variant form (in brackets). Being convinced of our hypothesis, one can choose the version of the editions, devoid of these dots. category imprint: Graphic ambiguousness; Differences between sources; Editorial revisions issues: Partial corrections |
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b. 102-105
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composition: Op. 12, Variations in B♭ major
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In the main text we include – in a variant form – the R.H. slurs entered most probably by Chopin between bars 102-103 and 104-105. Taking into account their convergence with the principal slurring pattern in this variation, we suggest adding respective slurs in the L.H. part as well. category imprint: Differences between sources; Editorial revisions |
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b. 102-103
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composition: (Op. 4), Sonata in C minor, Mvt IV
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In the main text, we do not include the inauthentic L.H. fingering added in EE1 and amended in EE2. category imprint: Differences between sources issues: EE revisions |
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b. 103
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composition: Op. 29, Impromptu in A♭ major
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In A there are two naturals written by someone else next to the following notes: a category imprint: Source & stylistic information |
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b. 103
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composition: Op. 29, Impromptu in A♭ major
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The mordent sign was overlooked in FE. In analogous bar 21 Chopin added the appropriate sign in the pupils' copies FES and FEJ. category imprint: Differences between sources issues: Errors in FE |
2 (the 4th quaver) and b
