|
b. 113-118
|
composition: Op. 24 No. 2, Mazurka in C major
..
There are deletions in bars 113-114 and 117-118 visible in A. Chopin was shortening the rhythmic value of the chords on the 2nd beat of those bars from the minim to the crotchet. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A |
|||||
|
b. 113
|
composition: Op. 39, Scherzo in C♯ minor
..
GC has the staccato dot in the R,H. only, which may be simply an oversight. On the other hand, the sign in the L.H. was added in GE, based on GC, so it cannot be ruled out that similar revisions were also made in EE and FE. From the point of view of the performer, both manners of notation are equivalent in that context, therefore we adopt the version that is found is most sources. category imprint: Differences between sources |
|||||
|
b. 113-114
|
composition: Op. 39, Scherzo in C♯ minor
..
The consistent version of EE and FE suggests that longer hairpins visible in GC (→GE) may not reflect the notation of the autograph. category imprint: Differences between sources |
|||||
|
b. 113
|
composition: Op. 39, Scherzo in C♯ minor
..
In FE this bar has 7 quavers as, despite the presence of a quaver rest, all the three octaves are written in crotchets. We think that this error should be corrected by adding quaver flags to the octaves at the beginning of the bar; this leads to the version compliant with EE and GC (→GE1). It is also the version that FE has in analogous bars 31 and 373. category imprint: Interpretations within context; Differences between sources issues: Errors in FE , GE revisions |
|||||
|
b. 113
|
composition: Op. 42, Waltz in A♭ major
..
The d category imprint: Differences between sources issues: Accompaniment changes , Authentic corrections of GE , Authentic corrections of EE |
in 
1-e