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b. 106
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composition: Op. 44, Polonaise in F♯ minor
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The missing tie to the grace note in GE2 is most probably an oversight of the engraver. category imprint: Differences between sources issues: Errors in GE |
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b. 106
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composition: Op. 44, Polonaise in F♯ minor
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On the 3rd beat of the bar, in the main text we suggest supplementing the Chopinesque pedalling after analogous b. 60, 110 and 293. category imprint: Editorial revisions |
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b. 106-110
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composition: Op. 44, Polonaise in F♯ minor
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The trills in bars 106 and 110 are printed in GE without wavy lines after the we write trills with full wavy lines, since there are no doubts that this is how the markings present in the sources are to be understood – see the note in b. 10. category imprint: Differences between sources |
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b. 106
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composition: Op. 23, Ballade in G minor
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We add a cautionary category imprint: Editorial revisions |
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b. 106-107
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composition: Op. 23, Ballade in G minor
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The change of slurring in these and the next bars must be coming from Chopin. According to us, the aim was to replace the shorter slurs of A with longer ones, which, however, was marked or implemented inaccurately in the discussed bars, hence the second of the original slurs (supposed to be removed) was left untouched. A similar phenomenon is to be found in, e.g. the Concerto in E minor, Op. 11, III mov., b. 179-181. In Chopin's autographs, one can find numerous examples for prolonging or combining initially written shorter slurs, e.g. in b. 112-114 of the Ballade, in the Mazurka in A category imprint: Differences between sources; Editorial revisions |
] suggested by the editors
in 
in 
before d2 in the main text.
major, Op. 24 No. 3, b.