



b. 111-112
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composition: Op. 22, Polonaise
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In the main text we omit the unjustified cautionary flats before the a category imprint: Editorial revisions |
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b. 111-112
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composition: Op. 22, Polonaise
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We reproduce the four accents over the L.H. chords as long accents. According to us, they emphasise characteristic two-note motifs, used by Chopin on a number of occasions in other pieces. In the Etude in G category imprint: Editorial revisions issues: Long accents |
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b. 111
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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Just like in b. 19, the notation of AF is inconclusive as to which type of accent was meant here by Chopin. According to us, due to Chopinesque proofreading of analogous b. 115, a long accent is more likely. However, we recommend a short accent as an alternative solution. category imprint: Graphic ambiguousness issues: Long accents |
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b. 111-116
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composition: Op. 50 No. 3, Mazurka in C♯ minor
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In the main text we include the staccato dots under the bass notes in b. 112, 115 and 116 on the basis of AF (→FE). As an alternative solution, we suggest taking into account the dot of GE1 in b. 111 too. The omission of some of the dots in EE and GE2 is an oversight of the engravers. category imprint: Differences between sources issues: Errors in EE , Errors in GE |
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b. 111-112
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composition: Op. 44, Polonaise in F♯ minor
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According to us, the long accents of FE could have resulted from an incorrect interpretation of the handwritten marks by the engraver. Therefore, in the main text we accept the interpretation of EE. The missing accents in GE are most probably Chopin's or the engraver's inadvertence. category imprint: Differences between sources issues: Long accents , EE inaccuracies , Authentic corrections of FE |