b. 137
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
The absence of the tie of g is almost certainly an oversight of the engraver of FE. The tie was added in later GE and EE certainly on the basis of comparison with analogous bar 33. category imprint: Differences between sources issues: EE revisions , Errors in FE , GE revisions |
||||||||
b. 137-139
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
In bars 137 and 139 GE2 (→GE3→GE4) changed the indications to . See the characteristics of GE2. category imprint: Differences between sources issues: GE revisions |
||||||||
b. 137-138
|
composition: Op. 35, Sonata in B♭ minor, Mvt I
..
In GC and FE, which certainly reproduce the notation of [A], the naturals before the g and d notes are written only in the extreme voices – next to the bottom notes in the L.H. and top in the R.H. An exception are the D1-D octaves (both notes provided with naturals, although in FE1-FE3 only in bar 138) and the devoid of g3 note in bar 138. In GE and EE the notation is correct (except for the devoid of naturals D1-D quaver in bar 137 in EE1). category imprint: Interpretations within context; Differences between sources issues: EE revisions , Inaccuracies in FE , GE revisions , FE revisions , Inaccuracies in GC |
||||||||
b. 137
|
composition: Op. 35, Sonata in B♭ minor, Mvt II
..
The continuous slur in EE is probably a result of a misunderstanding, related to the adjustment of the slurs to the changed graphical layout – cf. the note on slurs in bars 132-137. In the main text, we give hence the beginning of the slur after GC (→GE). See also bars 140-141. category imprint: Differences between sources issues: EE inaccuracies , Authentic corrections of EE |
||||||||
b. 137
|
composition: Op. 26 No 2, Polonaise in E♭ minor
..
As in bar 33, in the ninth chord in the L.H. at the beginning of the bar Chopin deleted F in the FES pupil's copy. The facilitation can be considered to be a variant for a small hand. category imprint: Source & stylistic information |