



b. 7-8
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composition: Op. 64 No 3, Waltz in A♭ major
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The category imprint: Differences between sources issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE |
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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In FC, in both bars, the 2nd, 3rd and 4th group of semiquavers are written in an abbreviated manner as repetition of the first. Similarly in analogous places – cf., bars 19-20, 23-24, 35-36, 39-40, 49-50 and 53-54. category imprint: Differences between sources issues: Abbreviated notation of A |
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b. 7-8
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composition: Op. 25 No 6, Etude in G♯ minor
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In front of the 2nd semiquaver in each of these bars, there are no accidentals in the sources except for naturals added in GE2 (→GE3), which cannot come from Chopin. Therefore, it seems that the top note is supposed to be a category imprint: Interpretations within context; Differences between sources; Editorial revisions issues: Errors in FE , Errors in EE , Errors in GE , GE revisions , Last key signature sign , Errors of FC |
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b. 7
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composition: Op. 26 No 1, Polonaise in C♯ minor
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The missing staccato dot in FE, placed in A over the 1st quaver of the triplet, can be a result of Chopin's proofreading. The appearance of the dot in GE1 may be explained with the engraver's distraction, whereas a relevant correction was introduced in GE2 (→GE3→GE4→GE5). category imprint: Differences between sources issues: Inaccuracies in GE , GE revisions , Authentic corrections of FE |
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b. 7-8
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composition: Op. 26 No 2, Polonaise in E♭ minor
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In GE1, probably as a result of an error, the 2nd beat of bar 7 and the entire bar 8 are written without staccato dots. In the subsequent GE, most likely in order to unify all occurrences of this fragment, the dots on the 3rd beat of bar 7 were also removed. Cf. bars 111-112. category imprint: Differences between sources issues: Errors in GE , GE revisions |