|
b. 136
|
composition: Op. 16, Rondo in E♭ major
..
category imprint: Differences between sources issues: EE revisions |
|||||||||||||
|
b. 136
|
composition: Op. 11, Concerto in E minor, Mvt III
..
The missing wedge is probably an oversight of the engraver of GE. There is a similar situation in bar 140. category imprint: Differences between sources issues: Errors in GE |
|||||||||||||
|
b. 136-137
|
composition: Op. 11, Concerto in E minor, Mvt III
..
Like in bars 128-129, the fingerings entered in FEH and given by Fontana in EE complement the Chopinesque printed indications. category imprint: Differences between sources issues: Annotations in teaching copies , EE revisions , Annotations in FEH |
|||||||||||||
|
b. 136-168
|
composition: Op. 31, Scherzo in B♭ minor
..
Just like in b. 4-36, in the main text we keep the notation of the bars filled with rests used by Chopin in A (→FC). The majority of the editions complemented the notation with digits denoting the number of bars (1 or 2 in b. 155-156) or numbering the bars (1 or 1 2). category imprint: Differences between sources issues: GE revisions , FE revisions |
|||||||||||||
|
b. 136-137
|
composition: Op. 22, Polonaise
..
We suggest adding a slur in the main text, which, as indicated by the comparison with three previous similar motifs, was most probably overlooked. In turn, there are no grounds to regard the versions of GE and EE, in which the 1st quaver in b. 137 was provided with a staccato mark, as authentic. category imprint: Differences between sources; Editorial revisions issues: EE revisions , GE revisions |
