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b. 139
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composition: Op. 26 No 2, Polonaise in E♭ minor
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GE1 overlooked staccato dots next to the first chord in bar 139. category imprint: Differences between sources issues: Inaccuracies in GE |
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b. 139-141
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composition: Op. 35, Sonata in B♭ minor, Mvt II
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Three staccato dots in bars 139 and 141 are present only in FE (→EE). Their absence in GC (→GE) may be explained with an inaccuracy of the copyist or their addition in [A] after the copy had been already prepared. In EE the three dots were completed with another two in bar 141, which, according to us, is an arbitrary decision of the engraver, related to the shift of the 1st chord in the R.H. to the top stave. category imprint: Differences between sources |
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b. 139
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composition: Op. 26 No 2, Polonaise in E♭ minor
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As in bars 35-36, the tie sustaining F is most probably an erroneous interpretation of the motivic slur of e-f added by Chopin in the proofreading of FE1. category imprint: Interpretations within context; Differences between sources issues: EE revisions , Placement of markings , GE revisions , Authentic corrections of FE , FE revisions |
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b. 139
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composition: Op. 35, Sonata in B♭ minor, Mvt I
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In GE and EE2, a cautionary category imprint: Editorial revisions issues: EE revisions , GE revisions |
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b. 139
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composition: Op. 21, Concerto in F minor, Mvt I
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Chopin added sempre legato in the proofreading of FE, probably considering the accompaniment in this and two subsequent bars, devoid of slurs, requiring more precise articulation – in an analogous place in the recapitulation the L.H. is provided with slurs. In EE, in which the slurs were added here, sempre legato was omitted, which can be regarded as a rational solution, compliant with economy of indications, generally characteristic for the Chopin notation. category imprint: Differences between sources; Corrections & alterations issues: EE revisions , Authentic corrections of FE , Legato & slurs |
was added next to d
1 in the L.H. In the main text, we also add a 
next to f3 in the R.H.
