



b. 106
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composition: Op. 64 No 1, Waltz in D♭ major
category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |
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b. 106-107
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composition: Op. 64 No 1, Waltz in D♭ major
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In As in bars 33-35 an alternative version of the part of the L.H. is written, which, due to the whole-bar rest in bar 34, seems to announce the final version of the ending of the Waltz. Taking this into account, in our reconstruction of the notation of As, we suggest this variant of accompaniment precisely in bars 105-107 (the notation of As indicates that at the stage of sketching the Waltz, Chopin did not envision a repetition corresponding to bars 109-124 in the reprise). The provided variant includes two bars only, as the described version of As in bar 33 does not differ from the final version of bar 105. category imprint: Differences between sources; Corrections & alterations |
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b. 106
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composition: Op. 64 No 2, Waltz in C♯ minor category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
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b. 106-107
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In b. 106 and 107, some or all bottom voice rests were overlooked in various sources: They seem to be the engravers' oversights (in EE and GE, it is also revisions that are likely – cf. b. 115). GC is provided with a detailed two-part notation, which we give in the main text. category imprint: Differences between sources issues: Errors in FE , Errors in EE , Errors in GE |
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b. 106-107
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composition: Op. 21, Concerto in F minor, Mvt I
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The visible in A, characteristic Chopin tie of c1 was overlooked in GE – the engraver may have considered it an extension of the motivic slur. Chopin corrected the mistake when proofreading FE (→EE). category imprint: Differences between sources issues: Errors in GE , Authentic corrections of FE |